Post Magazine

August 2016

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Page 29 of 51

AUDIO FOR STREAMING SERIES 28 POST AUGUST 2016 hank you Netfl ix (and other producers of quality streaming content) for bringing out the Veruca Salt in all of us. "Give 'em to me now" and by that I mean all 13 episodes of a season all at once, to keep in my pocket on my smartphone, to watch today, to watch tomorrow. I want it now….or whenever my schedule allows. Aside from the perks of having access to your favorite series all at once, anytime you want it, there are other advantages that streaming series off er that their broadcast counterparts don't. In terms of post sound, they off er schedule fl exibility, week-long block booking for dub stages, more creative freedom and a nearly direct path from dub stage to screen, meaning the mix the audience hears hasn't been compromised by a complicated broadcast process- ing chain. The re-recording mixers on Netfl ix's Stranger Things, The Get Down and Marco Polo, and Hulu's The Path give Post the whole works on how they craft- ed their series' sound. STRANGER THINGS On July 15th, Netfl ix delivered its much anticipated '80s era sci-fi series Stranger Things, which Technicolor re-recording mixer Joe Barnett describes as a love letter to 1980s cinema, giving nods to Steven Spielberg's ET, Rob Reiner's Stand By Me and John Carpenter's Halloween. Barnett (dialogue/music) shared the Technicolor ( dub stage at Seward St. in Hollywood with Emmy-award winning re-recording mixer Adam Jenkins (eff ects/Foley/back- grounds/creature design). As strange as the '80s were, the series gets even stranger by diving into another dimension, a parallel world dubbed 'The Upside Down.' In contrast to the quiet reality of Hawkins, IN, The Upside Down is alive with active backgrounds. Sound supervisor Brad North and his team built ambient backgrounds with real sounds which Jenkins and Barnett treated in the mix. Jenkins explains, "Visually, The Upside Down is like a decaying version of our world. So when the kids in the series are in this decaying forest where the monster lives, there are lots of trees and wind, very natural sounds that we treated and warped in a diff erent way. Everything in The Upside Down was treated diff erently, from the dia- logue to the Foley to the creature sounds, to make it feel like you were in a diff erent world. It was quite eff ective." The Upside Down sound work is so interesting that it even ends one episode, taking the place of the music. "There is nothing but the sound eff ects playing, no music. That's the way the sound was treated through most of the series. It was as important for setting the mood as the music was." Processing for The Upside Down on STREAMING SERIES OFFER MORE THAN JUST INSTANT SATISFACTION FOR YOUR EPISODIC ADDICTION BY JENNIFER WALDEN A STEADY STREAM OF SOUND T King Soundworks' Greasley and King mix Hulu's The Path on an Avid D-Command console.

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