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FEATURE


‘The results probably constitute some of the most ‘intimate’ mixes that


I have ever worked on’ Mark Briscoe


Total channel count for the most demanding 20-minute sequence that opens episode six


70


Hit & Miss: lead character Mia (Chlöe Sevigny) spends time in both rural and city environments and there was a great focus on differentiating the two


HIT & MISS RED PRODUCTIONS FOR SKY ATLANTIC


Dubbing mixer Mark Briscoe, assisted by Ben Sherratt Facility 3sixtymedia Format 5.1 Primary equipment Euphonix 5B console, Pyramix MassCore DAW, ProTools


How did 3sixtymedia come to be involved, and what was the brief? Mark Briscoe 3sixtymedia was approached by Red Production Company to deliver all of its post-production requirements for Hit & Miss. I have a great working relationship with the series’ executive producer, Nicola Shindler from Red, and have also worked in the past with one of the series directors, Sheree Folk- stone, and producer Juliet Charlesworth. Nicola, Sheree and the other director,


Hettie Macdonald, were very specific about wanting a sonic landscape that was gritty and real. The principal character, Mia (Chlöe Sevigny), spends large periods of time in both rural and city environments, and there was a great focus on differentiating the two. So, in the countryside scenes, we emphasised the sense of bleakness and really sought to avoid


32 | Broadcast TECH | May/June 2012


too many of the traditional rural signifiers, such as birdsong. The results probably con- stitute some of the most ‘intimate’ mixes I have ever worked on. By contrast, the city scenes had to be much more dynamic and impactful, reflecting the more social nature of Mia’s life away from the countryside.


Describe a particularly demanding stage in the audio post work on this project MB I would highlight the 20-minute sequence that opens episode six, in which Mia visits a fairground in search of her mother. Without giving too many plot details away, it’s a crucial moment in the series and one in which Mia essentially undergoes a personal meltdown. Sheree Folkstone directed this episode


and was clear about wanting to achieve a transition whereby the viewer is able to see the world through Mia’s eyes. The series as a whole encompasses a lot of extremes, but the idea for this sequence was really to overpower the viewer. So you hear the screech of the fairground attractions, the screams of the people on the rides and a variety of musical sources. In addition to the music from the fair-


ground rides, we have an amazing original score from Dickon Hinchliffe drifting in and out. All in all, it’s pretty powerful stuff. There


were a lot of elements to keep in play, and consequently we spent about six hours get- ting that one sequence right.


How did you achieve the desired end result? MB The placement of the dialogue was cru- cial, and we were fortunate in that regard because early on in the project a decision had been taken to ADR all of the principal dia- logue. This meant we did not have any spe- cific constraints in terms of the various ambi- ent elements – something that proved to be particularly beneficial. Factor in the various musical and atmos- pheric elements and we had a total channel count of about 70 – by far the highest of any sequence in this series. The Pyramix MassCore was a massive asset in this regard, allowing me considerable freedom in terms of how I routed the auxes and returns back to the DAW. I also called on two of my favourite pieces of outboard: the TC Electronic 6000 was great for general reverb, while the Eventide Ultra-Harmonizer DSP4000 allowed me to achieve all manner of FX processing. Sound designer Paul Horsfall, who did the FX, and Elizabeth Creswell, who completed the dial and the ADR, as well as my assistant, Ben Sherratt, were all invaluable in getting the best from this complex sequence.


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