Issue link: http://digital.copcomm.com/i/1081203
52 CINEMONTAGE / Q1 2019 "We put together the story visually and translate the specific sound designs and tone expected for the final mix in 5.1," he continues. "We found that the first few episodes needed to be heard in a different scope because our showrunner/writer/creator wanted to hear the dialogue loud and present. To accomplish a successful and pleasing playback, we switched to stereo Left/Right, then back to 5.1 to make adjustments." To break down sound editorial assignments before they were turned over to the show's dialogue, ADR, effects and Foley editors, each episode was first spotted with the producer and picture editor of that episode. "This is important because we form the acoustic draft of sound effects and music against our dialogue tracks," Coblentz explains. "Production dialogue is edited and ADR added when needed. Since our show is a collaboration of highly talented artists, that draft becomes similar to musicians writing a song. "At the end, our collaboration becomes very important for the final presentation, like a well-written tune," the supervisor adds. "In terms of workflow, the editorial process for Sabrina is organized and presented like a feature film, with sound design playing a key part in the overall soundtrack. Our picture editors feed us the ideas like a pencil drawing, and then we take the canvas and begin painting the sound colors." A 20-year post-production veteran, Coblentz worked previously on Star (2016-present), Forever (2018) and Knightfall (2017-persent). As well as supervising Chilling Adventures, he also serves as the show's co-sound designer. "I'm lucky to have sound designer Stuart Lloyd Martin at the helm," Coblentz says. "With over 20 years of experience, Stuart has the precise taste and technical style to successfully collaborate with Ken Kobett. We use over 100 tracks peppering in between dialogue and music. My role of sound designer is simply to add colors of sound in the mix to complement our music and design." Dialogue for Part 1 was cut at Technicolor by Patrick Hogan, with Jane Boegel handling Part 2. "Production dialogue offers its own challenges," Coblentz attests. "Almost every interior has a fireplace, because those visuals are very important for the décor of the show's houses. The technical effects to create large, blazing fires usually are provided by gas lines that can create loud hissing noises [which are removed using a Sonic Studio NoNOISE plug-in]. "Of course, what we cannot save in production we replace with ADR; we work with the actors, mostly via ISDN since they are on set in Vancouver." Foley is a "major player to our sonic build," adds the sound supervisor. "The team [headed by Foley editor/mixer Antony Zeller, CAS, MPSE] is responsible for covering all principal steps and movements, and then a pass of props. We will edit footsteps and props to sync up perfectly with the picture and production elements. We are lucky to have Robin Whittaker as our music editor; she has an extensive résumé working on big-budget features and television. Her music tracks are prepared for our mixer with direction and versatility." The sound team's toughest hurdle for Chilling Adventures is the sound effects build, which requires extreme dramatic control and design of multiple mono and stereo tracks, according to Coblentz. "Stuart is also our key effects editor," he says. "In order to get through a 55-to-60-minute show in a single 12-hour shift, his ability to prepare such large sessions is essential for our effects mixer, who receives 40 tracks of effects, 16 of sound design, 48 of backgrounds and 12 of Foley." The elements are grouped together by sound events on Avid Pro Tools timelines. When the show reaches the re-recording mixers, they develop an overall balance between dialogue, music, effects and Foley on the first day, according to Coblentz. "After the first couple of episodes, Vicki and Ken learned what the Edmond J. Coblentz, Jr.