Supervising Sound Editor Jacob Bloomfield Asbjoern Andersen


Jacob Bloomfield-Misrach is a supervising sound editor, composer, and owner of both IMRSV Sound and Berkeley Sound Artists. Both companies are based in Berkeley, CA, but with a presence in New York, Los Angeles, and San Francisco. Jacob oversees over 100 projects per year. His work includes the films Crip Camp, You Cannot Kill David Arquette, 12 Hour Shift, Junho, and the animated series Go!Go! Cory Carson, and The North Pole.
Written by Doug Siebum, photos courtesy of Peter Lyons
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Doug Siebum (DS): How did you get your start in film sound?

Jacob Bloomfield-Misrach (JBM): My entrance into film was a gift. I had been working in a guitar shop in Brooklyn for a couple of years, mainly to support my habit as a musician and a lover of sound. An old friend came in one day and we started chatting about his location sound company. One of his engineers had left town and I offered to help out, so he gave me a start as a boom op and production sound mixer. There wasn’t much training involved. It was kind of crazy actually. I stayed up all night before the first job reading the manual of a Sound Devices 722 and watching YouTube videos on Lav placement. But it wasn’t long before I found myself on set with Lexus, The New York Times, and Saturday Night Live.
 

DS: And how did you transition into post production and sound design?

JBM: I’m so glad that I had several years of experience in production sound. I think everyone should do that first, before transitioning into post. It informs the decisions we make as sound designers. But I also knew that I preferred the process of creating and crafting sounds in post, especially musical sound design. Also, those 4:30am call times for SNL were brutal! So I started to make the shift into post.
 



YOU CANNOT KILL DAVID ARQUETTE Trailer (2020) David Arquette Documentary


Trailer for You Cannot Kill David Arquette

DS: What originally peaked your interest about indie films?

JBM: I love independent films. They often have the most heart, and they often take the biggest risks. Also, they were the only jobs I could get when I was first starting out. Some of my favorite clients today are still the ones making really creative, low budget and self funded projects.
 

Budget is probably the biggest one. It could be a friend’s film, or a good film with no funding, but we all work on indie films from time to time with little to no budget. And that’s ok!

DS: What are some of the challenges of doing indie films?

JBM: Budget is probably the biggest one. It could be a friend’s film, or a good film with no funding, but we all work on indie films from time to time with little to no budget. And that’s ok! It’s part of the process. I used to tell young sound designers that when you’re starting out you should say yes to everything. Take on the low budget projects because it’s good experience, it will hone your craft, and you’ll build relationships with clients. But guess what? I still do it! And I still try to say yes to everything. I just did a job last month, mixing for John Nutt. Relatively speaking it was a pretty tiny budget. But it was a great film, and I got to collaborate with John who is an epic sound designer (Apocalypse Now, Amadeus, Iron Man). My realization is that the value of working on indie films never stops. We are always honing our craft, we are always building relationships, and I think it’s a great thing to say yes to a good project, even if it doesn’t pay very much.
 



Go! Go! Cory Carson NEW Preschool Series Trailer 🚘 Netflix Jr


Trailer for Go! Go! Cory Carson

DS: What’s the typical budget for an indie film?

JBM: Ugh! There’s no answer for that. “Indie” can mean so many things. If we’re talking about true, independent filmmakers, who are not funded by a major production company, then the price range for post sound can be from “I’ll owe you a favor” to $100k. A lot of indie films these days have private funding who actually have quite a lot of money. But if it’s not associated with a production studio then it could still technically be considered indie. I think that the best thing to do is to value your time. Try to present a budget proposal based on how much value you bring to the project, but also how much value the project brings to you.
 

My goal as a sound designer and supervisor is to push the filmmakers into thinking about the sound for the film before it gets to me.

DS: Are the producers or the director usually thinking about post sound ahead of time?

JBM: Great question. I hope so! But not always. My goal as a sound designer and supervisor is to push the filmmakers into thinking about the sound for the film before it gets to me. Here’s a simple trick for that. Ask your client to create a google spreadsheet with timecoded notes, outlining all of their ideas for sound, before you have your first spotting session with them. That way, once you start working together they’ve already given the sound quite a bit of thought. It makes the spotting session much more focused, and there are less variables in how to proceed with the design of the film.
 


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    Featured Features:
    – Variety of Watusi Sounds: Enjoy a wide range of Watusi sounds, from soft moos to powerful calls, perfect for adding realism and authenticity to your projects.
    – Diversity in Recordings: With multiple takes and variations, with long, short and group moos, so this library offers the necessary flexibility for any type of production that requires this type of animal.
    – Careful Editing: All recordings have been carefully edited to eliminate any external noise, such as birds, wind or people, ensuring pure, clean sounds.

    This collection is ideal for a variety of applications:
    – Video games: Add realism and depth to the natural environments of your games.
    – Cinema and Documentaries: African environment and scenes that require authenticity in fauna.
    – Educational Applications: Use these sounds in educational projects to teach about wildlife and animal behavior.
    – Multimedia Projects: Ideal for any project that seeks to enrich the user’s listening experience.

    Technical details:
    – Total Audios: 52
    – Total Sounds: 183
    – Format: 192kHz/24bit
    – Equipment Used: Sennheiser MKH 8050 Microphone and EM258 Capsule Microphone

    License:
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    Features: 

    • 350+ audio files in 24 bit 96kHz quality WAV format
    • “Multi” and “One Shot” files provided for most sounds
    • All files are metadata-tagged, allowing for easy searching in sound library management tools
    • UCS compliant file naming
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DS: Are they usually planning on finding distribution or putting their film in festivals?

JBM: Most of the indie films we work on have festivals in mind for the initial goal. And from there they hope to find distribution. Usually they are looking for both.
 

DS: Do they usually have a schedule in mind?

JBM: Yeah, most of time, clients come knocking when they have a festival deadline. So we work backwards with them to sort out the schedule. A typical work up on an indie feature takes us around 6 weeks. We’ll make sure they are picture locked and ready to go by then.
 

Supervising Sound Editor Jacob Bloomfield

DS: Does the director usually keep coming back to you or is it usually a one off thing?

JBM: The thing I love the most about Berkeley Sound Artists and IMRSV Sound are our clients. They have been repeat customers for years. Sometimes for decades! James LeBrecht founded Berkeley Sound Artists 25 years ago, and he’s established relationships with those filmmakers that have made them like family. We are very fortunate to be a part of a filmmaking community that has come back time and time again.
 

DS: I see that you are also a composer. Can you talk about your approach to a film as a composer vs. your approach to a film as a sound designer?

JBM: Yeah, they are different but also very closely tied together. The goal for both is to elevate the emotional experience of the film. I’ll often use music as a sound design element. And I’ll often use sound design or Foley as a musical element. Johann Johannsson is one of my favorite composers. You can feel the landscape and the sound design in his scores.
 

[tweet_box]Jacob Bloomfield-Misrach shares tips and experience in working on indie films[/tweet_box]
DS: Are they typically doing stereo or 5.1 or other formats?

JBM: Pretty much all the films we work on need 5.1 mixes. Streaming platforms and festivals require 5.1 deliverables. So we typically start all of our projects in surround, and our template has been built to have a solid stereo downmix with stereo stems ready to go. That way it’s easy to create any assets the client might need in the future right from the get go.
 

I love keeping a diverse portfolio. It keeps things interesting.

DS: Do you work on other things besides indie films?

JBM: Oh sure! We work on everything. Facebook commercials, animated Netflix series, Marvel ADR… we have quite a range. Then there’s everything in-between, like books on tape or AI voice construction. I love keeping a diverse portfolio. It keeps things interesting.
 

DS: Do you have any final thoughts that you would like to share?

JBM: Nothing in particular. I love what I do and we have a great team at IMRSV Sound & Berkeley Sound Artists. We all love talking about the craft, so I encourage people to reach out to us if they have any questions. Also it was a pleasure chatting with you Doug!
 

A great big thank you to Jacob Bloomfield-Misrach for sharing some of his stories and experience with us. You can find him on IMDb here and at Berkeley Sound Artists here and IMRSV Sound here.

Bonus Video: The importance of audio post in indie film:

Want to learn more about sound for indie film? Here, award-winning sound designer Ugo Derouard demonstrates five steps of audio post production, and how they affect a given scene:



Audio Design: Sound is 70% of What You See


Topics and playing times:
2:20 Sound Editing • 3:05 Spotting Session • 3:37 Dialog Editing • 7:03 Sound Design • 11:08 Sound Mixing

 

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Latest sound effects libraries:
 
  • Animal Sound Effects The Animal Symphony – Watusi Play Track 183 sounds included, 10 mins total $12

    The Animal Symphony will be a series of animal recording libraries, created to offer a wide variety of authentic animal sounds. Over the next few months, each installment in this series will capture the essence of different animal species.

    General description:
    The Animal Symphony – Watusi” features a total of 52 audios, with 183 individual sounds of Watusis mooing, all recorded in exceptional quality. Using two high-end microphones, the Sennheiser MKH 8050 and an EM258 capsule microphone, we have managed to capture every detail and nuance of these natural sounds. Each recording was made at a 192 kHz, 24-bit, ensuring professional clarity and depth.

    Featured Features:
    – Variety of Watusi Sounds: Enjoy a wide range of Watusi sounds, from soft moos to powerful calls, perfect for adding realism and authenticity to your projects.
    – Diversity in Recordings: With multiple takes and variations, with long, short and group moos, so this library offers the necessary flexibility for any type of production that requires this type of animal.
    – Careful Editing: All recordings have been carefully edited to eliminate any external noise, such as birds, wind or people, ensuring pure, clean sounds.

    This collection is ideal for a variety of applications:
    – Video games: Add realism and depth to the natural environments of your games.
    – Cinema and Documentaries: African environment and scenes that require authenticity in fauna.
    – Educational Applications: Use these sounds in educational projects to teach about wildlife and animal behavior.
    – Multimedia Projects: Ideal for any project that seeks to enrich the user’s listening experience.

    Technical details:
    – Total Audios: 52
    – Total Sounds: 183
    – Format: 192kHz/24bit
    – Equipment Used: Sennheiser MKH 8050 Microphone and EM258 Capsule Microphone

    License:
    The sounds from “The Animal Symphony – Watusi” are available under a royalty-free license, allowing their use in multiple projects without additional costs or royalties. You can use these sound effects in your games, trailers, Kickstarter campaigns, and more, as many times as you like.

    20 %
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    The driving section contains 48 tracks with a total length of about 36 minutes. These tracks include engine ramps and driving sequences at various constant RPMs, suitable for game implementation. Additionally, there are takes featuring more common driving and pass-bys, which are better suited for linear media usage. Interior and exterior mixes are also included.

    The foley section comprises 23 tracks with a total length of 8 minutes. It covers all basic sounds, such as opening and closing doors, hood and trunk, gearstick shifts, handbrake usage, and horn sounds. These sounds were primarily captured from a close perspective using a shotgun microphone.

    Microphone setup:

    • Sennheiser MKH8040 (ORTF) – Cabin
    • Neumann KMR81i – Cabin / Foley
    • Neumann KM184 – Exhaust
    • Shure SM11 – Engine bay
    • Shure VP88 (M/S) – Exterior
    • Tascam DR40 (XY) – Exterior
  • Sports Sound Effects Pool Play Track 351 sounds included $5.99

    This is a sound library containing the sounds of cue sports games such as pool or snooker. Includes a range of sounds such as ball interactions, potting, breaking, and more, with sounds from both a standard set of 2″ pool balls and a smaller set too.

     

    Features: 

    • 350+ audio files in 24 bit 96kHz quality WAV format
    • “Multi” and “One Shot” files provided for most sounds
    • All files are metadata-tagged, allowing for easy searching in sound library management tools
    • UCS compliant file naming
    • Available for commercial or personal use without attribution

     

    View a summary of included sounds here

    View a full list of included files here

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