As the Music Editor for Season 8 of Strike Back, I assembled the original score and source music, and edited it so that it fit alongside the visuals, dialogue, and sound effects. The Sky One versions of episodes 2–10 each featured a separate 30-second recap at the start. One aspect of my role involved creating a musical soundtrack for each of these recaps using elements of the score written for earlier episodes. In each case, I selected a suitably varied and dynamic cue, and then I segmented it and rearranged its constituent passages - both in terms of sequence and instrumental layering - so that the music hits the recaps’ rapid succession of dramatic beats and tonal shifts effectively, while keeping the pulse in tact. The result is a coherent musical arc that fits with the fast-paced visual editing. See video above for a selection of these recaps as broadcasted on Sky One (music only).

Original score composed by Scott Shields and Paul Saunderson.

Using only audio that I recorded (with a compact portable recorder) at the event, "S/M/L: S," I created a stylised and atmospheric sound design that incorporates on screen and abstracted elements. I included audio recordings of each performance; manipulating and layering them in such a way to create a complementary blend of sonic texture that evolves coherently with the narrative of the video.

Video by Cian Brennan.

As part of the sound editing team behind HBO and Sky Atlantic’s Chernobyl (2019) at Boom Post, my work earned both EMMY and BAFTA awards.* My role on this project included designing the complex and multi-layered footsteps (or ‘live feet’) throughout the show, which called for evolving acoustic perspectives and numerous unusual walking surfaces, such as collapsed buildings, cavernous, debris-covered hallways and creaky stairwells. I also edited much of the Foley (physical gestures, interactions, movements etc.), notably in some of the more graphic scenes which convey the devastating effects of radiation poisoning, and the claustrophobic passage where the scuba divers descend to the reactor. Some of my work can be seen in this short video.

Montage edited by Artem Birdman (Art of Visual Orgasm).

* EMMY for Outstanding Sound Editing For a Limited Series, Movie or Special, awarded for the Chernobyl episode, “1:23:45” (2019)

*BAFTA for Sound: Fiction awarded for Chernobyl (2020)

I created the subtle and multi-layered sound design for this promo video from scratch, knowing there would be a musical accompaniment added to it later. I didn't have any sound from the set or guide track to work with; the video was silent when I received it. Each gesture, movement and breath is a Foley recording or combination of Foley recordings (performed by Foley artist Rebecca Glover) which I recorded, edited and mixed. To add a natural sense of space, I added room tones and external atmospheres using a series of stereo location recordings which were captured with a compact portable recorder. Certain aspects of these location recordings were aligned to specific shots for pathos (for example, the use of distant church bells ca. 0:52 is intended to throw into sharper relief the loneliness of the character's situation).

The finished video, which includes an additional music accompaniment, can be viewed here: youtube.com/watch?v=Cc2CNoiZ6Rk

Video by Alice Trueman.
Foley performed by Rebecca Glover.
Foley recording and sound design by Paul McGuire.

For dismantled grand piano (2 performers).
Commissioned by ddmmyy (London, UK).

For an interview about the commission, click here.

Performance by Paul McGuire and Jack Sheen.