FX on Hulu's The Bear is a drama/comedy that stars Jeremy Allen White as Carmy Berzatto, an acclaimed chef who returns to his hometown of Chicago to manage the kitchen at his deceased brother's sandwich shop. The show released its fourth season this summer and has announced plans for Season 5.
Sound Lounge in New York City has been an audio service provider for the show since its early days and has been honored witn Emmy Awards for its contributions. Here, dialogue editor Evan Benjamin, supervising sound editor & re-recording mixer Steve Major Giammaria, and production sound mixer Scott D. Smith share insight into the studio's work on the series.
Is the sound or workflow for each season of The Bear evolving?
Evan Benjamin: “With every season, it seems as if the interaction between all of us gets smoother and smoother. So for me, Season 4 is really a refinement of what we did in Season 3. Scott seems to, every season, more effectively anticipate the needs of production, and that means I get more of what I need as the dialogue editor to stitch together a scene to hand to Major.”
Steve Major Giammaria: “This season really is a continuation of the evolution of the sonic style of the show. Season 3, Episode 3 ‘Doors’ sets the standard of that season for chaos and anxiety brought about through a crowded soundtrack and abrupt sounds. The repetitive nature of running a restaurant and the downward spiral of them trying to figure it out and being unsuccessful. This pays off in Season 4 montages of actually some success! The sound becomes less cluttered and more precise.”
Scott D. Smith: “Season 3, especially Episode 3 ‘Doors,’ continues the theme of chaos juxtaposed against quieter, more introspective moments. With a better sense of how the actors might approach a scene - for which there are few, if any rehearsals - we have been better able to anticipate the dynamics and staging of a scene. Further, we’ve addressed previous issues relating to the sets and various sources of on-set noise from kitchen equipment and lighting instruments.”
What is some of the gear you are using for the show’s soundtrack?
“Like just about everyone, I use Pro Tools, along with a variety of plug-ins. Izotope RX, Absentia DX, DX Revive Pro and Soundminer - to go through alt takes more quickly - are all essential parts of my workflow. Plus Keyboard Maestro to make shortcuts of things I do a hundred times a day, like opening a clip in RX for processing and then sending it back.”
Steve Major Giammaria: “I mix in Pro Tools with an Avid s4 control surface. My workhorse reverb is Indoor by AudioEase, and I use fab filter EQ and compression. Even with all the new noise reduction tools, I still rely on Cedar for broadband noise reduction when needed.”
Scott D. Smith: “For the production sound recording, we use a wide variety of equipment, depending on the scene requirements and location. Our main stages carts are equipped with a Sound Devices Scorpio recorder, with both Audio Developments and Cooper mixers of various configurations. Smaller carts are scaled down to make access to small sets and tight locations easier to navigate. Our primary wireless mic system consists of Lectrosonics digital and analog systems, with Zaxcom wireless handling the stereo mic work. Microphones run the gamut, depending on the needs and the sets. Everything from a standard Schoeps CMC41 up to DPA 5100 surround mics.”
What episode or scene would you point to as far as an audio highlight?
Evan Benjamin: “We’re currently nominated for Season 3, Episode 3 ‘Doors,’ and as always, the scenes where the cast is arguing in the kitchen are the toughest for me to work through. In this episode, that last fight between Carmy and Richie that results in the orders being thrown to the floor was especially complicated to work through, but very rewarding with the payoff of the orders flying off the table.
“I also love the scene of Fak forgetting how to serve the dish and just returning it, moving from the chaos of the kitchen to the dining room and then back again. And in general, that episode has that wonderful repetition of people yelling ‘Doors’ over and over again that really brings home the sense of monotony and also the idea of the place falling apart. The use of classical music also makes the whole thing operatic, but also somehow comedic. Like something that was supposed to be a ballet that’s gone horribly wrong.”
Steve Major Giammaria: “Weaving together all of the elements of ‘Doors’ was really the highlight for me. It's wall to wall classical music, loud dialogue and abrupt sound design. Layering it all just right to bring that story to life was a rewarding challenge. Each beat got special consideration so the story doesn't get lost while keeping the momentum going. The episode also starts with my favorite quiet and delicate scene of us sitting in the detailed silence of a funeral waiting for Marcus to deliver a powerful eulogy for his mother. This episode is the best of both ends of the sonic spectrum.”
Scott D. Smith: “The soundscape of ‘Doors’ is a unique amalgam of some of the signature approaches to sound used in other episodes of the show. A great example of how the tone and texture of the track can serve the storyline and define the characters’ mood and environment. It’s truly rewarding to see how what we recorded ultimately plays out in the edit and final mix in ways that we’re seldom able to anticipate during production. Some stellar work on the part of the entire post production sound crew.”