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www.postmagazine.com 15 POST AUGUST 2017 mances and political rivalries behind the great events that shaped the second half of the 20th Century. Included among its numerous nomina- tions is Stephen Daldry for Outstanding Directing For A Drama Series, who Post's Iain Blair spoke with in our June issue. According to Daldry, who says he's a big fan of streaming as well as all the new platforms, "I'm delighted with the way this show's going. I'm doing Season 2 now and then in about six months we'll be starting on Season 3. The great thing about long-form drama on TV is that you can do these in-depth shows that work in a very novelistic way, and that allow you to really explore character arcs and themes that you just can't do the same way in a two-hour movie. There will always be cinema, and people will always want to see films on the big screen in a big, dark theater, I think. But a show like this on Netflix certainly gives you the freedom to deal with a complex story set over many years that you can't easily deal with in other ways." STRANGER THINGS Stranger Things, one of Netflix's most anticipated and original new series of 2016, received much love from the Television Academy. In all, it re- ceived 18 Emmy nominations in such categories as directing, cinematography, editing, sound edit- ing and sound mixing. For the latter, Joe Barnett, re-recording mixer; Adam Jenkins, re-recording mixer; Chris Durfy, CAS, production mixer and Bill Higley, CAS, ADR mixer were nominated for their work in Episode 8: "The Upside Down," in the Outstanding Sound Mixing For A Comedy Or Drama Series (One Hour) category. Post's Jennifer Walden spoke with Barnett and Jenkins last year about the show's weird plotline with other dimensions and parallel worlds (dubbed "The Upside Down." In contrast to the quiet reality of Hawkins, IN, where the show takes place, 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 different way. Everything in The Upside Down was treated differently, from the dialogue to the Foley to the creature sounds, to make it feel like you were in a different world. It was quite effective." MASTER OF NONE Harbor Picture Company re-recording mixer Josh Berger is nominated for an Emmy for his work on Netflix's Master of None. "The Dinner Party" episode is nominated in the Outstanding Sound Mixing for a Comedy or Drama Series (Half-Hour) category. Berger mixed the program on an Avid S6 mixing console. SATURDAY NIGHT LIVE PS260's Adam Epstein is nominated for editing the Saturday Night Live skit, "Kellyanne Conway." "It was a really fun piece," says Epstein. "More than anything, it's a testament to how great the film unit crew and the music department is, and how Kate McKinnon truly can do anything. "As is always the case on our pieces, the com- pressed timeline was the most challenging aspect. The shoot went till later Friday night, so editorial- ly, I had about a day for the cut and final finish." The segment was shot using two Arri Alexa cameras and was colored at The Mill. The con- formed was handled in Adobe Premiere — the same software Epstein cut it in. "Oz Rodriguez did such a great job directing the piece, and Kate is so entertaining," he adds. "When you're given such great material to work with, the job is a real pleasure." FEUD: BETTE AND JOAN Composer Mac Quayle received two Emmy nominations for his work on the "Main Title" and "Score" featured in the Ryan Murphy/FX hit series, Feud: Bette and Joan. The series stars Jessica Lange and Susan Sarandon. Quayle won the Emmy last year for his score for USA Network's Mr. Robot, starring Christian Slater and Rami Malek. He also regularly composes music for FX's American Horror Story and worked on last year's popular The People v. O.J. Simpson. 2017 ROCK AND ROLL HALL OF FAME INDUCTION CEREMONY Sue Pelino, vice president of audio post pro- duction, Broadway Video, received an Emmy nomination as part of the sound mixing team for Outstanding Sound Mixing For A Variety Series Or Special. The nomination was awarded to the audio production team on the 2017 Rock And Roll Hall Of Fame Induction Ceremony that aired on HBO. Pelino served as re-recording mixer on the project. "Capturing the spirit of the irreplaceable events of the Rock and Roll Hall of Fame Induction Ceremony is just short of a small won- der, but it's a feat that Sue Pelino has been mas- tering for years," says Stephanie Rutkowski, VP, Broadway Video post production. "Following the six-hours of live performances of music legends at the 32 nd annual ceremony, Pelino and team had less than two weeks to do their magic to mix a three-hour broadcast." Pelino has received two Emmy awards and nine prior nominations. Feud: Bette and Joan and Joan and Sue Pelino Master of Master of Master None of None of SNL