Issue link: https://digital.copcomm.com/i/830490
C A S Q U A R T E R L Y S P R I N G 2 0 1 7 25 him. And all of a sudden, and I have no monitors, I can't see what's going on. I don't even know if he's on camera. And I'm just telling the driver, "Don't get too far away." It's like, it's old school. I'm blind. This is a great story. I have no idea what's going on. I don't know what the camera's seeing and I just know that I've got to leave both mics kind of up because there's no script, right? So we've got plant mics for both of them, which didn't work for A.C. in the front seat because his clothing was too noisy. So we've got the visor mic for him. And it didn't work for Cuba in the back seat because he's doing all kinds of stuff. He's all over the place. But the wire was the only thing that was working for him. And when he yelled, it was like, you know. And I'm using wheel pods on a Nomad and I don't even have faders. So I've got no gain knob that I can really crank down. I just got these knobs. And he yells and that transmitter held and I was just like, "Hallelujah. Hallelujah. That worked!" It was so cool. The whole thing, the way it turned out. I mean, there were a couple of times where I rode in the back. But most of that whole sequence I was mixing in the front seat of the sprinter van, just sort of… Trying to keep proximity? And guessing what the dialogue was going to be. How does it feel to be recognized for your work on this pro- duction? Every time I watch the awards, even when I was a kid, it's like, "I'd like to thank all these people." Yes, yes, whatever. But then if you get nominated for one, you're really faced with the possibility that you're being recognized for something as an individual. You realize it's not really an individual award. My production people, my boom operators are so good. These post people … I mean sitting in with them and watch- ing how they do it. JUDAH GETZ: ADR MIXER The ADR seemed quite seamless and transparent next to the production. How many cues were typical in a given episode? Were most cues for add lines, production challenges, and/or creative/performance? Regarding principal ADR, when it comes to Ryan Murphy projects, including O.J., he doesn't like to do any if at all pos- sible. There are times when it's required such as voice-over or something that's so terrible, technically, that even he doesn't want to live with it, but these are extremely rare occasions. My work on O.J., specifically the episode we won for, was the recording of the Group ADR. There were a ton of tracks needed for several of the scenes, such as the crime scene with reporters and officers, and some of the crowd scenes where we recorded several layers of 'pro' O.J. folks and 'anti' O.J. folks. A lot of these scenes involved recording several tracks of beds, free & clear call-outs, chants, etc. It must be nice to work with folks like Sarah Paulson, who you have done so much work with on other Ryan Murphy projects. Do you find you begin to build a rapport that helps you get what you need more efficiently? I work hard to provide a comfortable and creative space on my stage, and try my best to be as prepared as possible so that the sessions are efficient feeling without stress. I work intimately with the sound supervisors, Gary Megregian in this case, who's just an amazing and humble individual, to know exactly what they need or want, such as mic choices and/or configurations. The truth is that I never in a million years expected to be included on the ballot for O.J., but Joe went completely out of his way to include me, and let me know how invaluable my con- tribution is to the finished product. I will forever be indebted to him and Doug for their selflessness and willingness to share the limelight. JOHN GUENTNER: FOLEY MIXER How much of the courtroom treatment is created organically in your record versus on the dub stage? Joe and Doug could probably shed more detail on this, but we try to record Foley with distance perspective in each scene as well as adjusting level for quiet, intimate scenes versus loud scenes with music & fx where Foley will have to be hotter to cut through the mix. Also, a big part that we try to achieve is using the room mic to match production. The age-old saying in Foley of "If you did your job, no one knows it's Foley" is something we always try to strive for. We want to deliver something to the dub stage that doesn't require a ton of treatment to fit in the mix. So all in all, I would say it's probably 50-50 dub stage treatment versus organic treatment during recording. Did you use anything surprising for a particular sound? Most of the sounds on O.J. were normal day-to-day sounds of office, home, etc., so nothing really surprising, but we did use a strange-looking mini-chandelier-type bracelet as a dog collar in the opening scene of Episode 1 where a neighbor is walking his dog and discovers Nicole Brown-Simpson's body. It worked really well as a cheat! What was your favorite prop used? Favorite prop was an old bag of golf clubs coupled with some Sarah Paulson (left) as Marcia Clark and Sterling K. Brown as Christopher Darden