From writer/director Marion Kerr comes the indie web series Misdirected. Currently debuting its first season, the show centers on Freddie (Lauren Mora) who’s struggling with a recent diagnosis of amnesia. Now spit back in to a world she can’t remember, her friends Josh (John T. Woods), Gerald (Ross Philips) and Cameron (Joel Kelley Dauten) try everything they can to help Freddie remember the life she once had or the life they think she ought to have…
The cleverly edited episodes by Emily Chiu paint a comedic canvas that are engaging and fun to watch. Short. Sweet. And they keep you wondering – a perfect mix for the I-don’t-have-time-for-this web watchers. While the 9 episodes were visually captured by cinematographer Alex Simon, it was Michael Flowe who found himself recording the five days of production audio. He later sat in the post mixing chair to design the sound for the project.
Michael Flowe on set
The Atlanta, Georgia native talked to us about starting out, being a one-man-band, and what it was like to re-record his own production audio work.
What attracted you to putting on a pair of headphones and recording sound? I studied sound design in college and our first project was to create an audio scene of all of our own captured sounds. This experience really put a spark in me that sound can create and mold the way you see a picture. After that, I was working as a sound designer at a production house in Atlanta. Their production sound mixer moved so they asked me to fill in – which began my production sound career.
What is it about sound and being part of the storytelling that you like the most? I enjoy collaborating with people who enjoy the creative process and understand that we all need each other to make a greater product of art.
With smaller budgeted projects like Misdirected, what do you look for so you can say yes to a project? Normally, I always look to the people that are involved in the project. I have a pretty strong discernment when it comes to people and character off of the first meeting, so I use this to help me decipher which projects are worth taking a risk for.
Directed by Danny Madden, Euphonia follows a bored, K-Mart employed high school boy, Will (Will Madden) who for some reason or another hates every minute of his white, suburban existence. The film, which was well done, is a must watch for any sound recordist or designer and that’s why we’re so interested in it here at S&P.
As the minutes pass closer to the all conclusive fade to black, Will’s days of hanging out with his friend (Bejnamin Papac) and trading notes with a female classmate (Maria Decotis) become bleak. So he turns to what any teenage boy does to fill his loneliness-porn (kidding, but just a suggestion, Will). Nope, he actually buys a sound recording device, a Zoom H2, to be exact and starts to capture the audio world around him. Now consumed with his newly found obsession it eventually becomes so intense it slips him into a world of discontent.
Shot outside Atlanta, Georgia with a near zero dollar budget, Danny Madden, created a plot through sound imagery that’s engrained with inventiveness and passion. Though Will is center stage, the real characters are the sounds that begin to take over his life. Besides directing and writing the project, Madden also cut the film and looked to Steve Bissinger for additional sound re-recording and theory. We were able to sit down with the two storytellers to see what it was like creating a character we could only hear.
The good people over at Gotham Sound teamed up with Tekserve and Avid to bring a behind the scenes look at the sound of Nurse Jackie with production sound mixer Jan McLaughlin, and Steve Borne supervising sound editor. If you have the time to watch, it’s well worth a look.
Re-recording mixer, Howard Bargroff, AMPS, was nominated alongside production sound mixer John Mooney for their effort on BBC’s Sherlock. Known for his work on Tinker Tailor Soldier Spy, amongst others, S&P asked Howard to take us behind the scenes and unlock the mystery of his final mix for the Emmy considered episode, A Scandal in Belgravia.
S&P: Sherlock landed you your first Emmy nomination. Pretty cool, huh? Bargroff :Very cool. And totally unexpected. I’m still reeling a bit from the news.
S&P: What made you and production sound mixer, John Mooney, decide to submit A Scandal In Belgravia over the other episodes of season 2? Bargroff :That episode had the most thinking time. And a real conscious effort was made to shape the tone of the piece. It was felt that we would keep sound fairly minimal apart from key moments. Hopefully, that made the big scenes feel more impactful, and helped to sell the shape of the drama.
Mastering is the last and probably the least understood step in the audio recording process.
Mastering engineer Bob Ludwig is one of the true living legends of the music business. In addition to being a Grammy winning engineer, he has received many TEC Awards for excellence and was the first winner of the Les Paul Award from the Mix Foundation for setting the highest standards of excellence in the creative application of recording technology.
Bob is a classical musician by training, having obtained his bachelor’s and master’s degrees from the Eastman School of Music. Inspired by Phil Ramone, Bob ended up working with Phil at the legendary A&R Recording Studios in New York. After a few years at A&R Recording, Bob moved to Sterling Sound and then to Masterdisk as Chief Engineer. In 1993, Bob and his wife Gail built Gateway Mastering in Portland, Me., a state-of-the-art record-mastering facility where he still masters records by top artists. Read the full article here.
Sounddogs.com recently updated their website. It’s not a complete overhaul, but it’s a bit cleaner and a little less kludge for users to get around. If you haven’t heard of them or been to this site, they offer a pretty good sound effects library for your production needs.
The content creation community is embracing this new audio format, and more than 25 feature films have been announced or already mixed in 7.1–and a majority of them are in 3D. Discover how 7.1 brings a more exciting sensory experience to 2D and gives content creators even more control over audio placement for 3D movies. Also learn from experts in the cinema industry how they envision the future of surround sound.
Kinson Tsang, supervising sound designer, Legend of the Fist: The Return of Chen Zhen and The Lost Bladesman
Rohan Sippy, director, Dum Maaro Dum
Erik Aadahl, supervising sound editor, Transformers: Dark of the Moon, Kung Fu Panda 2, and Megamind
Michael Semanick, rerecording mixer, Cars 2 and Toy Story 3
Eric Brevig, director, Yogi Bear and Journey to the Center of the Earth