Issue link: http://digital.copcomm.com/i/1061972
66 CINEMONTAGE / Q4 2018 and re-recording mixers agree early on about a mix template. Ideally, editors cut in it so that when we get to the temp stage the Pro Tools sessions are ready to go, and we don't have to spend hours merging editorial sessions with mixing templates. The team spent about 15 days on the pre-dubs, with sound effects, Foley and backgrounds. "During the subtle scenes, I spent more time on the backgrounds and Foley to emphasize that characteristic '30s London environment," Keller explains. "A key, as Eugene has mentioned, was the Foley, which glued together the vocals and the environments, including footsteps, props, cloth and other elements. The dance numbers took longer to mix because we needed to have the Foley cues play through the big music numbers as more of a percussive component. We wanted everything to sound organic. After all, this film is a musical, not an effects action film." While the majority of stage time was spent on the 7.1-channel mix, the team also flagged elements that could be used in the later Atmos immersive mix, "particularly for quieter scenes, since object sounds are harder to locate in loud scenes," Keller stresses. "The full-range surround and overhead speakers [specified for an Atmos mix] helped the music spread out into the room, especially with the bass extension. But we had to be careful not to change the music balances too much between 7.1 and Atmos." To streamline his workflow on Stage A at Warner Bros. Sound, Keller specified two Avid HDX3 systems. "One was the FX/Foley Playback machine, while the other had backgrounds running," he recalls. "The latter consisted of 10 pre-dubs, with room tone and atmospheres, birds, traffic wash, specific traffic sounds, crickets, etc. Mike Prestwood Smith handled walla and loop group from Renée's dialogue tracks, together with animal vocals and reactions; that was a busy reel! Foley was primary feet, background feet, props and cloth movements. In terms of plug-ins, I used nothing crazy. I believe that if you need too many plug-ins on the mix stage to make something sound right, you probably haven't got the right sound effects. Dubbing schedules get shorter every year and there is not a lot of time to experiment with new plug-ins. Having said that, I used Avid Channel Strip for EQ and dynamics, and Audio Ease Altiverb and Avid ReVibe for reverbs." Summarizing his experience on Mary Poppins Returns, Keller says that the director "hand-picked a crew that had respect for one another; everyone's opinion was valued and it was a real team effort. The goal was to create an exciting mix. Rob Marshall was our captain — we did our very best for him." "Dialogue and music gave the film its overall shape, and then we layered in the sound design and effects," adds Prestwood Smith. "Our second pass through a reel was a bargaining process between Michael and me; getting the vocals to sound right meant getting the Foley and backgrounds absolutely right. Refining those details took time, but we always needed to maintain a broad appreciation of the whole film." "My biggest challenge was getting the hugely complex 'Ceramic World' to sound right with all of its myriad components," Tondelli concludes. "But it was also my biggest pleasure within a wonderful soundtrack experience. And, most importantly, it's great to work on a film you love with people you love." f Michael Keller. Mary Poppins Returns. Walt Disney Studios Motion Pictures