ABOUT NINA HARTSTONE AND JOHN WARHURST
Nina Hartstone and John Warhurst are heads of the Oscar and BAFTA-winning team behind the sound editing of Bohemian Rhapsody.

Nina Hartstone is an Oscar-winning Supervising Sound Editor, she has worked in the industry for 25 years as a Supervising Sound Editor working in feature films, specialised in Dialog and ADR Some of her credits include “Evita”, ‘“The Hours”, “Gravity”, “Everest”, “Beauty and the Beast” and Mowgli.
This past year, she was Supervising Dialog/ADR Editor on “Bohemian Rhapsody” and has won both a Bafta award and an Oscar for her work on the film. She lives in Windsor, U.K. with her husband, three children and two cats.

John Warhurst is a Supervising Sound and Music Editor who has worked in the film and music industry for 25 years, specialising in musical films and currently working on the musical Cats. Amongst some of his credits are Sweeney Todd, Les Misérables, One Direction: This Is Us, The Theory of Everything and Three Billboards Outside Ebbing, Missouri.

Nina Hartstone and John Warhurst experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB.


WORKSHOP DESCRIPTION

The Sound Editing workshop will focus on a diversity of topics in the art of editing sound for a film. You will have the chance of not only receiving this knowledge from Academy Award Winning Sound and Music Editors John Warhurst and Nina Hartstone, but also to engage with a group that will have up to 25 participants, making it extremely practical and interactive. In addition you will have the opportunity to assess any issues you have encountered in your own work and get helpful tips for any future projects you might work on.


Pre-Production Planning
- testing workflow
- liaising with the Sound Mixer
- logistics for sound on set including music playback if required
- director’s vision for final sound track

Production Sound: Making the Most of Every Opportunity
- making the most of unique opportunities on set
- Wild Tracks
- SFX
- Location ambiences

Director’s Cut: beginning Post Production
- handover from Production Sound Mixer
- supplying sounds to editorial
- supplying music to editorial
- improving production sound for the Avid tracks
- temp ADR
- workflow with Editorial
- turnover elements

First Temp Mix / Test Screening
- crewing up
- target audience
- screening location and sound quality
- managing expectations
- how to mix (Avid or stage)
- Avid tracks or all mics
- temp Foley
- temp SFX
- temp ADR
- temp Music
- how they can become the finished product
- stems to go back into the Avid
- workflow of Avid tracks moving forward

Finding the Cut
- managing new cuts
- improving the sound throughout picture edit
- editing production dialogues
- planning for ADR / Crowd / Foley / FX and Music recordings
- source music requirements
- sound editorial track lays
- ADR tips and tricks
- making choices for the mix
- preparing alternatives

Preparing for the Mix
- liaising with the Re-recording mixers
- Track layout
- Separation of stems
- Mixing in Atmos
- Score recording

Premixing and Mixing
- planning your premixes
- maintaining flexibility with the tracks
- Getting the overview of all the sound and music elements
- Mix reviews

Deliverables
- planning time for all versions
- QC ing
- M+E
- TV Airline Version

Politics
- different roles and their responsibilities
- managing different personalities
- being open to other creative ideas
- talking through logistics and problem solving
- working as a team
- building up a client base/securing the next gig
- coping with long hours


PROFILE OF PARTICIPANT
The workshop designed for, Sound Editors, Music Editors, ADR Editors, Directors, Sound Mixers, Film Students, or anyone interested in entering the Film Business on the area of Sound.

LOCATION OF THE WORKSHOP
London UK


16 hours
Duration: 2 days
Dates: 11-12 January 2020
Location: London UK
Price: 499GBP (349GBP with discount of 25% Until 8th of January)
Maximum number of participants: 25
By registering to the workshop you agree with FFL terms and Conditions

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