ON-DEMAND VIRTUAL EVENT
Meet the sound team behind
True Detective: Night Country
Critics call True Detective: Night Country, “A fresh and frosty variation,” “A haunting, riveting return to form,” and “Frighteningly atmospheric.”
In this on-demand virtual event, Sound Editors Martín Hernández and Stephen Griffiths, and Re-Recording Mixer Howard Bargroff, delve into the intricacies of their creative journey throughout season 4 production of this iconic franchise.
The panel covers:
Working with Showrunner/Writer/Director/Executive Producer Issa López to bring her vision to life.
Designing the sound for the most impactful series scenes.
How they collaborated creatively and efficiently.
Martín Hernández
Martín Hernández is an internationally revered supervising sound editor and sound designer whose distinguished career has seen him become a two-time Academy Award® nominee for Best Sound Editing for Birdman (2014) and The Revenant (2015), directed by Alejandro Gonzalez Iñárritu. He is also a BAFTA winner for The Revenant and has been nominated for Pan's Labyrinth, Babel, and Birdman. Last summer Hernández co-supervised and designed for Director Issa Lopez True Detective: Night Country, season 4 for HBO. In the last couple of years, he and his team made the sound for Radical, a film by Director Chris Zalla debuting at Sundance Film Festival 2023; co-supervised Bardo, by Iñárritu; The Sky Is Everywhere, by Josephine Decker; and Emily the Criminal, by John Patton Ford. In 2020 they remixed the Amores Perros soundtrack released by Criterion Collection on the 20th anniversary of the film. Hernández has been directing the Sound Post division at Cinematic Media, and developing series for HBO, Netflix, and Amazon. Through his pioneering efforts, Hernández continues to redefine the boundaries of auditory experience in film, making him a true master of sound design.
Howard Bargroff
I started off my audio life at the legendary SARM Studios in West London as a music engineer cutting my teeth in the analogue recording world. Some years later, a sidestep followed into the post audio world, with a job for Dolby, which acted as an introduction and a conversion course into the world of film sound mixing and its technologies. After a few years at Dolby, the mixing bug took hold again, and I moved back behind the desk, this time for post, with jobs at Warner Bros. De Lane Lea, Future Post, and Videosonics. After several happy years working at Videosonic Studios, I was launched into the freelance world, where I was lucky to land some great projects, such as: Doctor Who, Broadchurch, Tinker Tailor Soldier Spy, Sherlock, Luther, The Night Manager, Devs, A Very British Scandal, Marcella, Dark Money, and Tin Star. I ended up setting up the sound post-production company, Sonorous Post, as a support system for managing multiple projects. The company was recently sold to the U.S. group, Formosa. This last year we looked after a broad range of projects, including Lockwood, The Rig, A Very British Scandal, Men, Matilda, Lee, Civil War, Bad Sisters, The Long Shadow, The Midwich Cuckoos, The First Lady, Five Days at Memorial, and True Detective.
Stephen Griffiths
Stephen Griffiths is a multi-BAFTA winning and Emmy® nominated supervising sound editor who has a wealth of experience across the full range of cinema and television. He has supervised the soundtracks to Oscar® winning films like Amy and many Oscar® nominated films most recently, Tàr.
Jeff Komar
Sr Solutions Specialist, Avid
Jeff Komar is a 20-year veteran of the Avid solutions team focusing on professional audio products. He is a musician, engineer, and technician who enjoys helping creative people navigate the flux of technology. Komar has played a key role in many high-level demonstrations for Avid at industry events in the U.S. and around the world including AES, NAMM, NAB, and IBC. Komar has been instrumental in helping major facilities optimize their workflow by integrating solutions from Avid.
*Academy Award and Oscar are trademarks of the Academy of Motion Picture Arts and Sciences.
*Emmy is a trademark of the National Academy of Television Arts and Sciences (NATAS) and the Academy of Television Arts & Sciences (ATAS).
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