The production sound mixer and the sound designer who worked closely on creating the soundscapes for Normal People discuss their use of sound skills as art and as craft.
Niall O’Sullivan recorded the location sound, which Steve Fanagan mixed in post-production – along with added dialogue, Foley sounds, music and sound effects – to create the final sound.
Fanagan described his task as one of “creating a world soundwise that feels truthful to the world portrayed on screen”.
Two clips illustrated the work of the sound specialists. The first – Marianne and Connell’s first romantic encounter in the former’s family home – was recorded by O'Sullivan with two boom microphones.
Matt Bacon, sound recordist/location sound supervisor, and Kate Davis, head of sound at Directors Cut Films, shared the essentials for recording good quality sound and the advantages of using foley effects at the RTS Craft Skills Masterclasses 2019.
Click here to read the session report.
Davis received a Bafta nomination this year for her work on the BBC Four documentary Amy Winehouse: Back to Black. Bacon specialises in formatted and entertainment series such as Channel 5 reality show The Bachelor and the BBC’s Masterchef.
Covering a lot of ground from the humble cathode-ray tube to the latest 8k displays, Lodge explained what it takes to make a production truly immersive – so the scene feels as real as if viewers were seeing it with their own eyes.
The viewers’ vision is filled with what’s playing out before them; cuts, mixes and zooms don’t make sense in this environment. The production needs to find other ways to lead them from one scene to the next.
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Bax experienced the high life on BBC One documentary Supersized Earth, working on a ledge at the top of the Burj Khalifa, the world’s tallest building. Gettens added “explosions and bullets whizzing around people’s heads” to BBC One’s D-Day the Last Heroes.
Lambert Productions MD Emma Wakefield led the conversation at the RTS Craft Skills Masterclasses.
Building a career in sound, Tony believes, is the same as it was when he began over 40 years ago. “[You] need to do the work at the coal face,” he believes, and work your way up from Sound Assistant to Sound Supervisor.