Issue link: http://digital.copcomm.com/i/1081203
53 Q1 2019 / CINEMONTAGE producer wanted in terms of style and sound levels. I create a master Pro Tools session of all those units, adding alts and missing elements, or editing missing material," he explains. "Day two is a technical playback and then the producer's playback. Both will have notes with regard to production, ADR, sound effects and design alts. I will edit what's needed as we move through our notes. That is also for fixes and the final mix, with deliverables. Parts One and Two are very consistent in style and levels; we try not to make any changes to the established locations." A BALANCED MIX "We didn't have a lot of discussion prior to mixing our first episode," remembers Lemar, adding, "Edmond relayed to us the spotting notes from Roberto and we were given a sandbox to play in. There are key moments where we stay close to what everyone is used to hearing in the picture editing room, but we are able to support and enhance all that. And it was well received." The series represents a fantasy drama that follows the lead character as her 16th birthday nears, and Sabrina must choose between the witch world of her family and the human world of her friends. The pace of the soundtrack must leave room for high-impact sound as well as quieter, more reflective scenes. And the exact time period has yet to be determined. "The year in which the series is set is a great question," Lemar concedes. "The town of Greendale seems to be a time capsule. At the Spellman Sisters Mortuary they have record players, tube radios, old black-and-white TVs and a wall phone with a mallet-and-bell system on top of the handset. Dr. Cerberus' book store houses a big jukebox, yet a very modern espresso/ cappuccino machine. But Sabrina's boyfriend drives an old truck and has a smart phone. From a sound standpoint, we treat everything as it is presented visually." Lemar continues: "As far as dynamic range goes, the showrunner really likes everything to play big and also loves the scare moments. Most of the episodes are very dense, which makes it challenging to make the big moments have an impact. But we find ways to get it done!" she adds. "The main discussions dealt with track count and layout format," Kobett remembers. "It was important to have editorial keep sound design on set tracks, separate from general hard effects because the show has many big scare moments that evolved over the course of several episodes. Also, with only about 14 hours total to mix episodes averaging 52 minutes, the schedule had to be well laid out." Lemar and Kobett work at an Avid Euphonix S5 digital console with 32 faders per side, each handling 304 inputs and JBL 5000 Series audio reference monitors. "Ken and I mostly work together during the first pass," she explains. "We'll Chilling Adventures of Sabrina. Netflix Vicki Lemar.