PETER: “As these projects were put out to tender, part of the pitch involved naming the Supervising Sound Editor. How exactly is that decision made when approaching a project? IFTN: You each feature as Supervising Sound Editor on both projects, respectively (Peter – Angela’s Christmas, Steve – The Stinky & Dirty Show). I remember celebrating with a shot of Middleton, which we both thought was horrible! (laughs)”
Luckily we were selected to work on the show. Tom Slattery and I worked on the Stinky & Dirty Show creative pitch in Mutiny Post. I wasn’t actually involved in the Stinky & Dirty Show pitch, as I hadn’t come on board yet at Mutiny Post.” We were fortunate to be selected for both of these wonderful productions. As part of the team at Mutiny Post, we had to put together a creative pitch, working to a short sample of animation from the show. PETER: “Both jobs were put out to tender by Brown Bag Films. IFTN: How did the opportunity to work on ‘ Angela’s Christmas ‘and ‘ The Stinky & Dirty Show’ come about? The “rules” are different… you can make a cow bark in animation and nobody bats an eyelid, it's just funny!” Being able to give a character unique sound design that enhances their identity is something I've always enjoyed more than anything.
I immediately loved the creative freedom it gave me. After a few years of learning the ropes, I started editing/mixing many different formats and eventually found myself working predominantly in animation. From there I just about tried everything involving sound until I found my way into audio post-production as an assistant sound engineer at Number 4, Windmill Lane (2008). STEVE: “I studied Music Technology and Sound Engineering at Bray Institute of Further Education (2004-2006) before completing my college education at Pulse Recording College (2006-2007). In the 28 years since, I’ve done sound editing and mixing for just about every format (ads, documentaries, reality, comedy, drama, animation, etc.) for both the big and small screens.” I found I preferred the work (and the hours) of audio post. PETER: “I trained in music production and engineering at Berklee College of Music in Boston, then began my career at a studio in Atlanta that did audio post work by day and music work by night. IFTN: How did you get started in Sound Post-Production (Editing and Mixing)? IFTN journalist Nathan Griffin caught up with the pair to find out more about their nominated work and how they got into the profession. ‘Angela’s Christmas’ and ‘The Stinky & Dirty Show’ were both edited and mixed during Maher and Blayney’s time at Mutiny Post.
Blayney is a two-time IFTA winning Sound Editor and was also part of the team that received the Golden Reel Award from the Motion Picture Sound Editors for their work on ‘Game of Thrones’ in 2012.
These include the Academy Award nominated drama ‘Room’ (2015), Golden Globe nominated comedy ‘Sing Street’ (2016), HBO’s ‘Game of Thrones’ (2011), Virgin Media Television drama ‘Blood’ (2018), and Jim Sheridan’s ‘The Secret Scripture’ (2016). Peter Blayney is a freelance sound editor with over 20 years’ experience and over 140 production credits. Steve is a six-time Daytime Emmy nominated sound editor and mixer and was also nominated for an Emile Award in 2018, which he shared with Blayney. Steve Maher is a sound edit supervisor/re-recording mixer for Number 4, Windmill Lane. With 10 years’ experience working in sound, Maher has already worked on a number of high profile projects including Brown Bag Films’ three-time Daytime Emmy winning children’s show ‘Peter Rabbit’ (2015-16), and most recently Hasbro Studios’ ‘Transformers: Rescue Bots Academy’ (2019).
0 kommentar(er)
