From there I evaluate how to break down the resources to accomplish the tasks necessary for any given deadline. MW: Usually I’ll look at the post schedule that the client provides and see where they have benchmarks. Video courtesy of Los Angeles Post Production Group DS: How do you set up the schedule? After a while I had established some relationships with filmmakers and eventually, I’d get my own shows. You’d come together and figure out the best approach to get to the finish line. A lot of times one person would handle the dialogue and the other person the effects. I started co-supervising and building my resume, and eventually took on projects by myself and supervising those.ĭS: So it’s one of those things where you’re co-supervising so many with someone and then eventually they give you one on your own? MW: I worked in boutique sound houses that had a lot of projects coming through which led to more opportunities. Everything progressed from there.ĭS: How did you progress from being a sound editor to being a supervising sound editor? After some time, the folks I shadowed gave me reels to conform, foley to edit. I’d spend my mornings there and go do my second shift over at my regular job. Eventually, I met a few people and started sitting in with them over at Soundelux. I wasn’t at the right facility for what I wanted to do, but I didn’t know that at the time. I started by coming up through the vault and moved into the sound department at a facility specializing in foreign versioning. I didn’t know what I was doing but it sparked my interest in sound.ĭS: Can you talk about the first films that you got on and that process? I think it had four tracks and was pretty limited, but I was the only student who sat down and tried to figure it out. In the middle of the semester the filmmaking class ended up getting Pro Tools version 2. I was trying to get into the graphic arts program but it was full. MW: I took a general filmmaking class in high school by accident. Today I want to talk a little about supervision and what it means to be a supervising sound editor, but first can you tell me how did you find your way into doing sound and more specifically, sound for film? Aircraft – Jet/Propeller Plane Sound EffectsĭS: Hi Mandell, thanks for taking the time to join us.
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