Issue link: http://digital.copcomm.com/i/1014407
59 Q3 2018 / CINEMONTAGE SIGNAL PROCESSING AND PLUG-INS Earle uses two levels of EQ on the console — one on each channel, and one on the overall dialogue chain. "The Euphonix Series 5 desk on Stage 3 has great dynamics and EQ controls, and still delivers a nice, warm sound," he explains. "If needed, I can employ an outboard toy box of plug-in apps. I like transparent reverbs, but I always keep one bright room to help with dialogue consistency. I also have access to iZotope RX4 and RX6, which allows for spectral repair, de-noising and de-clicking of any particular clip." While many mixers use headphones when working on the stage simultaneously, Earle and Andham remain old-school. "Doug and I work more traditionally in that we use the room to pre-dub," Earle says. "I usually go first, establishing the level for dialogue, group and music, then Doug fills out the acts with backgrounds, hard effects and Foley. Once an act is done, we repeat the procedure in the next one. That way Doug can mix against the dialogue, or mix without the dialogue if he chooses." "If there are any problem areas that I notice when Joe and Doug are first going through the show, I usually try to have a fix ready before they even ask," Megregian explains. "Typically, we do two to three playbacks with the picture editors and producers per episode; these notes can be pretty extensive and detailed. Most of the notes are about fine-tuning the mix with some editorial needs. While our editors are available to help, I usually handle all of these on the stage." TWO DAYS TO MIX EACH SHOW Traditionally, the crew has two days to mix a 43-minute show, which includes two playbacks on the second day. "More and more our schedules are expanding as the scope of CONTINUED ON PAGE 70