
What we learned from working with Steve on Episode 102 we would then take and apply to Episode 103, building as we went.
#Robert rich altiverb full#
I would make a full 5.1 sound effect premix in one of c5 sound design suites for an entire episode, then bring Steve in and get his reaction, and then afterward build from that. What came about was a wonderful combination of all our ideas up to that point. So, I spent a good amount of time working to present all the material in a way that would play to the strengths of a 5.1 sound environment. Now we’ve added four more speakers, and there’s a re-adjustment processes that happens. Everybody up to this point is used to listening to things in a certain way. I find there’s always a transitional step when moving from a mono or stereo Avid track into a 5.1 surround environment. Then Ruy Garcia, Wyatt Sprague (sound design/effects editors) and I kept going further, adding more elements and refining ideas. I got to hear what his ideas were and we brought his work, along with everything they had in the Avid, into our working sound sessions. Warren did some great initial sound design for them on a few of the later episodes.

Warren Shaw (a fellow supervising sound editor/sound designer who was New York-based but went out to Los Angeles a little while ago) had been brought onto the show early on while they were still cutting. Actually, much more than any show I’ve worked on before. When I sat down with them, they already had a lot of sounds in their Avid Media Composer that they were working with. He had very specific ideas on what it would sound like in the prison, or what the city should sound like depending on the neighborhood. Steve had a definite vision for where he wanted to go with the show. Did they have specific plans for how they wanted to use sound in the show? This was your first time working with show runners Richard Price and Steven Zaillian. We watched all eight episodes over a two-day period and talked about the sound concerns and possibilities. Then upon arriving I sat and did a spotting session with Steve and Nick Houy, the picture editor. While on the plane I had all these possible sound ideas swirling around in my head, mixed with this deep desire to know what happens in the final episode. So I viewed the first seven episodes pretty much straight in a row, and in less than 24 hours I got on the plane and flew out to LA to spot the entire show with Steve Zaillian (series creator/ director/writer), still not knowing what happens in the last episode. Just prior to going they had sent me screening links to watch the series, all but the last episode. I flew out to Los Angeles while they were wrapping up locking the picture cut. I interviewed for the job and ended up getting it. They were looking to do the sound in New York and c5 Sound was one of the places they were considering. Here he shares insight on building the expressive backgrounds and mixing the effects to create a rich world around the actors.
#Robert rich altiverb series#
2 “Subtle Beast,” and one for Outstanding Sound Mixing For A Limited Series for Ep.1 “The Beach.” He’s already won a 2017 Golden Reel Award for Best Sound Editing on The Night Of.

Supervising sound editor/re-recording mixer Nicholas Renbeck from c5 Sound in New York, has been nominated for two Emmys for his work on the show: one for Outstanding Sound Editing For A Limited Series for Ep. Each location has a rich tapestry of sound, a vibrant background upon which the drama plays out.

It also explores different neighborhoods, from uptown Manhattan across the East River into Queens. The series takes the audience on a tour of New York City’s penal system, from the precinct to the morgue, into the court room and out to Riker’s Island. The HBO drama series The Night Of tells the tale of Nasir “Naz” Khan, a young Pakistani-American male accused of brutally murdering a young woman in her uptown Manhattan home. Nominee Nicholas Renbeck, supervising sound editor/re-recording mixer
