O.J. Simpson in the limelight
about it, then I'm doing something
Keith, can you tell us about
your audio workflow for O.J.?
KH: I used a range of different plug-ins to attack the archival audio. Son-nox has a pretty serious de-clicking
program that worked the best for me.
I use iZotope plug-ins, which I love,
and they definitely take up a bulk of
my workflow in terms of de-noising
and de-crackling. I use iZotope De-crackle extensively for almost anything that sounds a little harsh or
crunchy. I find that it takes some
of those odd overtones away and
leaves the audio a bit more pleasant.
Then I went through Waves WNS
for some broadband noise reduction.
A lot of these clips have this wide
white noise across all frequency
ranges, and the Waves DNS successfully strips a lot of that out.
Luckily the interview audio
sounded really good. They recorded
in different situations, so just a little
light noise reduction was needed
on that. In terms of workflow, I had
Eric Di Stefano help me out. We had
hired him to do some of the dialogue clean-up, and he gave me the
rough mixes when things started to
get heavy on schedule. I sat with
Ezra and went through it with a fine-tooth comb, plucking through each
and every single part after it was
mixed. It was a bit of a balancing act,
but it worked out well.
How did you collaborate with
other members of the post-pro-
KH: We were a small team, so in
terms of audio it was really just me
doing the bulk of the heavy lifting.
I had Eric doing some work in the
background, which helped tremendously. The back-and-forth with the
composer, Gary Lionelli, was integral. We took this seven-and-a-half-hour beast and we essentially mixed
it multiple times. The first pass actually screened at Sundance with only
temp music in it — all the favorite
tracks from Apocalypse Now, Drive,
and other top soundtracks, just to
Mixing the film at Sim Post New York