Issue link: https://digital.copcomm.com/i/642315
FROM HEAVEN TO HELL www.postmagazine.com 26 POST FEBRUARY 2016 the house now; she does only three or four readings a week at her place. Her son, LJ, is out of college and living in the city, and her daughter, Vic, is in college and lives at home." One of the challenges of the show is that "we never know the content — her readings are not planned," Pupa says. "We start each show with what's actually going on in her life. For example, she insists that her son come home to stay when he gets his wisdom teeth out but her daughter, who's now home alone, has other ideas and calls Uber to pick him up. Or we'll ask Theresa what she wants to do, and we'll scratch ziplining off her bucket list." But readings are central to every show, and it's important to take a respectful approach to the clients who seek Theresa's services. "Her readings last one hour, and choosing what goes into a show happens in the field — it's basically instinctual," says Pupa. "The readings kind of edit themselves. The highlights of the readings are any indi- cation a person gets of the healing they wanted when they came in, and we've seen some amazing validations." Clients are interviewed when they ar- rive and meet Theresa; they narrate what happens during the reading and explain the validations. They are interviewed again after the reading, "and you can see the difference in them," Pupa says. "It's a pretty transformative experience. My first day on the show two-and-a-half years ago, all the readings were emotional, and I started to cry. I looked at video village, and none of those people were crying. They said, 'We've been here three years — this is nothing, just wait.'" The show's camera package, in Hicksville or on-location, features Panasonic HDX900 DVC Pro HD camer- as, Canon 5D MK IIIs and the occasional GoPro. "We used GoPros for Theresa's zipline adventure and in the car to set up readings as she drives to a client," Pupa Production sound mixer Brad Martin launched his audio recording company Brad The Sound Guy four years ago, and has relied on Sound Devices gear while traveling throughout Canada and the United States to capture dynamic audio for his clients, many of which produce reality TV programming. Martin recently worked on the Canadian Broadcasting Corporations' The Nature of Things, and on a commercial project for the HGTV special Property Brothers at Home on the Ranch. He was first introduced to Sound Devices while working in the rental depart- ment of Toronto's Trew Audio, where he set up rental packages comprised of Sound Devices' 302s, 442s, 702Ts and 744Ts. The 442 was the first mixer he worked with on a regular basis, and he's since gone on to use Sound Devices' 552 and 664 mixers, which he describes as rock solid. That performance was put to the test when he worked on CMT Canada's Mississippi Snake Grabbers. "The shoots took place in Lake Washington, MS, where it was incredibly hot and humid," he recalls. "Between the sweltering heat, the humidity, the ice-cold air conditioning and the intense FROM THE CANYONS TO THE CATWALK AUDIO PROS CAPTURE GREAT SOUND FOR REALITY TV The audio team on-location during production of the CBC's The Nature of Things.