FROM DOCUMENTARY TO TV & FILM

Jimmy the Sound Guy

Interview Series

Today we welcome James Sieczka from Noise Boys LLC.James experience is extensive, working in Asia for many years and learning from Greg Curda and Emmy winner Les Wolf, he returns to the States to partner with Noise Boys LLC. We learn how he combines his knowledge gained from Documentary into TV & Feature Film productions to crack some of the tougher technical challenges that come his way.

James Sieczka Production Sound Mixer

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Tell us a little about yourself. Where are you based, what you do and who are the Noise Boys LLC? My name is James Sieczka but most people call me Jimmy or Soundguy. I grew up in Chicago and attended Columbia College Chicago for all my Film/Sound Training. When I finished school I immediately moved to LA. After 3 years there, I felt the need to travel the world. I got lucky and landed a job in the Philippines at a film studio working as their in-house production and post-production audio mixer. I also split my time as a mixer to teach sound at an international film school in the islands.

I spent 5 amazing years there working, teaching and learning from some of the top production/post production mixers in the game. Oscar Winner Greg Curda and Emmy Winner Les Wolf helped shape me into the mixer I am today and I'm forever grateful for their teachings and advice to always maintain a good sense of humor.

In 2013, I decided to move back to the states. After 8 months, I met business owner and operator David Macaulay Flynt of Noise Boys LLC. We hit it off immediately. Within a few months, Macaulay asked me to join his company Noise Boys and create a partnership that has been going strong ever since. I'm currently based in LA now and primarily work on run and gun adventure shows and occasionally swing boom on feature films.

I knew at the age of twelve that I wanted to spend the rest of my life working in film industry.

How did you get into the Film & television industry? I knew at the age of 12 that I wanted to spend the rest of my life working in film industry. That's when I met Paul Matian (Producer at Leo Brunett Agency) and together with some friends we started making skateboard movies. We kept the dream alive and 10 years later, I decided to move west and Paul stayed in Chicago to start a career working in commercials and film. I arrived in LA as a kid with little direction and only a few friends working in the business. My first job there was working at a Post House doing dub work, scratch removal on old films and basic secretary work. It was long hours, little pay and lots of responsibility with no potential sound work on the horizon. After 8 months in LA, I was still looking for audio opportunities so I could finally leave my job. Out of nowhere, a friend invited me to a wrap party for some networking where I met a camera operator that worked for a small production company in Burbank. By the end of the night he gave me a number to a production coordinator and said Call this number and in a month, you'll have a job as an audio mixer. Tell them Malibu referred you. Later I made the call, quit my current job, and started the next day as a day player on Fear Factor and a number of different LA-based TV programs. This was the point that I officially became a working Sound Mixer.

What is a typical day like as a sound mixer on assignment? It really all depends on the gig and the conditions the crew will be working in. One thing that always remains constant is gear because it never hurts to be over-prepared. For example if I know I'll only be working on interiors for the day, I'll still bring all my microphone accessories like my Rycote Softie, Super Softie, Cyclone and Zeppelin Windshield.

Some mixers think its overkill but there was a time where I was scheduled for interiors and the producer decided to add a quick exterior shot, on a rainy windy day. The producer knew he could save some cash for production using the rain versus bringing in rain machines and generators on another day. By the end of the day the exterior was scheduled and I was stoked I had my Rycote Zeppelin and Windjammer. Otherwise I would have lost a mic trying to capture the dialogue in the rain without the right protection from the elements of the outdoors.

The Rycote Cyclone really came in handy for a lot of the Naked and Afraid shows I've worked on. The design is flawless and is a huge step up from the previous Rycote Zeppelin.' James Sieczka

I see you've worked on several projects with National Geographic, the Ice Holes and Filthy Riches series and Discovery's Naked and Afraid. Can you tell us a little about these shows? Looks like there were some interesting characters to record, did you get to know any of them personally? These shows look like they could pose some tricky technical challenges, Ice Holes with unpredictable wind changes and sub zero temperatures. How did your kit stand up to this environment? Every show gives you an opportunity to get to know the cast personally. Besides the director and producers I tend to have the most contact and face time with cast since I'm having to mic them daily and make adjustments on them throughout shooting. During principle photography I keep any conversation that isn't related to the show to a minimum, but once the show is completed I certainly have kept in touch with some cast members.

Shooting adventure shows poses a lot of technical challenges when in the field. For example, NatGeo's Ice Holes was extremely difficult and dangerous to shoot. The entire show was shot on several frozen lakes as we followed cast members through various ice fishing challenges and contests. Temperatures were as cold as -45 F in some locations as well. Some of the biggest challenges were the weight of all of the clothing and gear

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