12/13/2023 0 Comments Murder on middle beach sisterHe sent us a bunch of long rolls of audio transferred from his home videos. He just intuits it and adds a bunch of subtle Foleys and a lot of incidentals along with the more front and center sounds that we worked with in the show.Īnother thing that helped was staying in constant communication with Madison and having him send us stuff. Medlin: I think the relationship that Alex and I have really helps because I don’t usually need to take the time to do a lot of instructing about the sounds he should add and what his part will be. With such a busy schedule, what do you do to maximize efficiency? It’s was a weird whirlwind, especially during this time. We had finished the fourth episode, and then the following week, they were already up on HBO. But it’s allowed us to hone our skills into the fine-tuned aspects of sound design at a quicker pace. We typically go from one project to another, so we don’t have many breaks. Loew: We pride ourselves on our turnaround time. This series came to you in the summer and aired by November. It’s just such an intriguing journey that he takes us on, and that was before our work or cleanup or color correction. I usually just watch a few minutes of a project to prepare for an interview, but I knew right away that this was going to be different. This was when the quarantine was really scary … around summer 2020. From that, I think he felt we were a good fit for the project.Įarly on he sent me a rough cut of the first episode. We’d discussed character-driven sound stamps, like a haze sound to signal his mom’s memory or presence. Medlin: After our initial conversation, Madison and I realized we were on the same page. They joined the project after a recommendation from Jigsaw. They are based at NYC’s Final Frame Post, and I reached out to talk to them about helping to bring this documentary to life sonically. To find out more about the audio post side of the film, I reached out to supervising sound editor/re-recording mixer Annie Medlin and sound effects editor Alex Loew, both of whom have worked on docs in the past, including Atlanta’s Missing and Murdered and A Wilderness of Error. Sonically, we are transported into Madison’s world and experience a glimpse of what it means to unflinchingly examine your entire history in search of justice and closure. Myriad interviews and undercover recordings, compiled over the 10 years since his mother’s murder, are seamlessly woven with audio from home videos dating back to before his birth and punctuated with the cold, dry click of a VCR. The sound of this documentary is composed, quite literally, of many moments tied to Madison’s life. And Jigsaw Productions has helped Madison give the project the treatment it deserves. I never expected to see the doc go to HBO, but in retrospect, it makes perfect sense. I came away from the experience hoping Madison would be able to get some answers. I spent two days in Connecticut with Madison, producer Solomon Petchenik and cinematographer Ben Joyner. I first met Madison in 2018 after I received a call asking if I was available to record some production sound for a documentary. While I typically write stories about projects that I’ve played no part in, this one was personal.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |