I have recently uploaded a clip to YouTube of the opening sequence of an episode of EastEnders that I tracklayed, sound designed and mixed back in January. On the show, a bus driver had a heart attack and drove a bus through the square and market before crashing into a bridge. The below clip is from the episode that followed. As you can see, this was not normal epsiode of EastEnders. Directed by Toby Frow, this episode featured a lot of creative editing and camera shots including the use of GoPros for POV shots, and the sound needed to follow suit. As well as the detailed sound designed opening (described by the public as "very saving private ryan" - thanks, that's what we were going for!) the rest of the episode was pretty intricate mixing wise as I had to spend a lot of time panning and automating the volume and EQ of the hissing and idle engine coming from the bus, changing perspectives constantly, including inside and outside of the bus. We spent a lot of time finessing this episode, especially this opening sequence and the closing sequence, and I think the hard work paid off. I have recently mixed some more episodes of EastEnders which air on the week of the 31st July.
Last year I was asked by Chris Hainstock and David Mcsherry from The University of Lincoln to come and give a guest lecture on post production audio to their 3rd Year Audio Production students. I was nervous because I didn't do a tech degree myself so wasn't entirely sure what the students would know/would expect from me and I didn't want to teach them to suck eggs. Plus I'd never thought students in that sort of environment before - I usually just train juniors at work one-on-one.
I spoke about track laying for factual television and then spoke about getting into the industry and things to consider when venturing out into the world of audio. I wasn't sure how it went at the time, but David was very complimentary afterwards, and on the train home I was asked to come back the following term. One of the students from the second lecture wrote a review of my session on their University blog and you can read it here. I am going back in November, with a slightly tweaked lecture, and it will hopefully be of some use to the students!
Sound Effects Edit On Feature Film "You, Me and Him" Featuring David Tennant And Lucy Punch at LipSync Post
Sorry for the weeks of radio silence, I got married and then went on honeymoon! I'm back in the swing of things now, just finished a week of mixing at EastEnders again, and realised that I hadn't posted about my last few jobs pre-wedding!
SO, as you can see from the title of this blog post, I worked as the Sound Effects Editor on the new Romantic Comedy You, Me and Him for 8 weeks. The film is directed by Daisy Aitken, produced by Georgia Tennant at Bad Penny Productions and features David Tennant (Doctor Who, Broadchurch), Lucy Punch (Into the Woods, Hot Fuzz), Faye Marsay (Game of Thrones, Pride), Simon Bird (The Inbetweeners, Friday Night Dinner), comedy legend Sally Philips (Smack The Pony, Bridget Jones' Diary), and the wonderful David Warner (Titanic, Wallander) and Gemma Jones (Bridget Jones' Diary, Sense and Sensibility).
I loved working on this film, as I was able to put in so much detail on the sound effects edit, had good communication with the foley team at Universal Sound (Simon Trundle and Phill Barrett) and then was able to work closely with the Re-recording mixers at Lipsync Post in the last two weeks to really bring everything together. I do often miss the human/personal side of my job when working from home so this was great for me. I sat with recent BAFTA Nominee Paul Cotterell as he premixed my effects, which felt truly collaborative as we would occassionally make creative decisions together and I could explain what sounds were coming from where or why etc (which was hopefully useful to him...!). I then went into the final mix with BAFTA winner Robert Farr where he brought it all together and created a great final product. He sat me down at the end of the mixing desk with my own protools system and fader pack (controlled remotely by his system of course) so I could quickly help him out tweaking the effects mix while he was tweaking the dialogues (sometimes music), which worked pretty well and was a good experience for me.
Daisy and Georgia took the film to Cannes Film Festival for some screenings with potential distributors, so watch this space! I genuinely think this is a really good film, very witty and a bit different. I can't imagine it not doing well, so I will let you know when and where you can watch it!