POST
AUDIO POST SKILLS
Growing your own at Molinare and Envy
At Envy Post, they’ve been bringing through talent, with structured training via The Envy Academy for sixteen years. The Academy has given training to 1500 students, most finding a specialism and moving on in the industry. 50% of the 200 staff are now homegrown. Arriving as a runner – with 50, or 60 job options – they are given time to find the career for them. If they find an interest in sound post, they will need to develop soft skills, alongside technical and craft understanding.
“Ultimately you’re in room with someone for eight or 10 hours,” says co-founder Natascha Cadle. Whatever they’ve studied at college, there’s still a lot to learn and some won’t be cut out for it. “There are so many different disciplines within audio that need to be looked at….People come with a passion and that’s great, but the road to be a dubbing mixer is long and some people might not have the patience.”
Vaudeville Head of Sound Luke Hatfield. “We feedback and they don’t get their pass until that’s done.”
INSPIRATION FROM INDUSTRY
There’s no placement on the National Film and Television School Sound Design for Film and Television MA, but the film studio environment is geared to provide a professional experience, with lots of collaborative work. And its connections with industry make all the difference. Visiting tutors include Oscar-winners sound editor Nina Hartstone and sound designer Nicholas Becker, as well as Oscar nominees- supervising sound editor James Harrison and former sound engineer Graham V Hartstone. The department also works with the editing and composing departments at the school.
At Molinare, they’ve also got a grow- your-own strategy. Creative director Glen Gathard has roots in sound audio; he was previously head of Digital Recording and Mixing at Pinewood Studios Group. Molinare’s sound team all started at entry level, bar one. Both foley artists are eight years into their career, one of them winning an MPSC award for Netflix series The Witcher. They go wide to recruit. “I want a sound team that has the same diversity levels as a standard London Borough,” says Gathard. There are two trainees in the sound department at the moment. First, they need to learn to interact, to communicate. They start with an all-departments year – foley, sound editorial, performance capture, voice record, ADR. All is supported with structured supervision and kpis. The next step for the facility is to turn runners into apprentices, accessing the government levy that Molinare has paid. The facility is bringing in a professional training company to design the correct curriculum across two years.
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Chris Pow heads up the NFTS MA programme where two thirds of students have already spent time in the industry, often as runners. “We try to give our students a very particular experience, one that might take many years in the industry to replicate,” he says. “The aim is to develop a deep understanding of the way sound is used to enhance storytelling, narrative, emotional and character engagement with the film, TV or games projects.”
Louise Burton graduated from the NFTS MA in 2018. So, has it been useful? Having worked on short films and having kept in touch with
“We try to give our students a very particular experience, one that might take many years in the industry to replicate.”
Chris Pow, head of NFTS MA programme
visiting tutors and other filmmakers, she secured her first job the day she graduated, as Assistant Sound Editor on feature film Bohemian Rhapsody. “It was a fairly steep learning curve,” she says. “But I felt confident in the skills I’d acquired from the NFTS Sound Design course to know that I could bring something of value to the team.”
Burton believes the Masters has underpinned her subsequent work, stepping up to editor last year on a number of films, including Brett Morgen’s Moonage Daydream, Oscar shortlisted for Sound. In fact, she goes so far as to say that “the NFTS really did change my life.”
Disney+ Limitless With Chris Hemsworth - sound design and mix at Vaudeville
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