Issue link: http://digital.copcomm.com/i/1178376
48 F A L L 2 0 1 9 C A S Q U A R T E R L Y This panel followed the path that dialogue takes from being recorded during the production all the way to the final mix. Both Ben and Tod said that they like to get in as early as possible to figure out how they will set up mics. If they can, they like to go on the location scouting and they both talk to the set designer to make sure they have OBSERVATIONS b y P e t e r K e l s e y C A S the height to use their boom mics. When asked how often they interact with dubbing mixers, they replied that 80 percent of the time the dubbing mixers are not even hired when they are shooting the production. Matt's job as assistant dialogue editor is to take a full set of production recordings and organize them so that all the dialogue is frame accurate and they are in a form that will make sense to the dialogue editor. Anna spends two weeks weeding out which mics she is going to use and then uses booms as much as possible. She doesn't like to do noise reduction, but builds fills to make the dialogue as smooth as possible. If she doesn't understand something from the first hearing, she will slate that for ADR. Adam's job is to assist the mixers and make their job as easy as possible. Chris, as FX mixer, tries to clear out the center channel for the dialogue and pan off screen. He has to work with the PFX if that is being handled by the dialogue mixer or else he will have it in his session and integrate it into his mix. Gary's job as dialogue mixer is to make the dialogue consistent with quality and timbre of production. He is the last link in the chain and 50 percent of his time is just trying to make it work. His template is all- inclusive and can handle any situation, Audinate is the company behind Dante, which distributes uncompressed, multi- channel digital media via standard Ethernet networks with near-zero latency and perfect synchronization. Using Dante enables a room to be built where there are no analog elements except the final speakers. It also means that a producer in a remote location can now listen to the mix. Ron built the first university Dolby Atmos room at Belmont University (Nashville) and said that their equipment now is ahead of their curriculum. David has a small immersive room that he stripped back to the foundations and then had Dolby design everything from scratch. The room is 16' by 15' by 8.5' high. David asked to use Adams but once he has imported the dialogue into his tracks, he will hide all the tracks he is not using. In summary, communication and organization are crucial between the different people in the chain to ensure the dialogue is clear and consistent and carries the story without any anomaly disturbing the viewing experience. OBSERVATIONS b y P e t e r K e l s e y C A S "FOLLOW THE TRACKS" PRESENTED BY THE CINEMA AUDIO SOCIETY MODERATOR/PANELIST: Gary Bourgeois CAS (re-recording mixer, dialogue & music) PANELISTS: Ben Patrick CAS (production sound mixer), Tod A. Maitland CAS (production sound mixer), Matt 'Smokey' Cloud (assistant dialogue editor), Anna Mackenzie (dialogue editor and supervisor), Adam Carl (recordist at The Dub Stage), and Chris Jacobson CAS (re-recording mixer, FX) THE NETWORKED STUDIO: BUILDING A NEAR-FIELD IMMERSIVE ROOM WITH AUDIO-OVER-IP MODERATOR: Phil Wagner (Wagner Consulting) PANELISTS: Mark Roberts (Streamline System Design), Lane Burch (Sony Pictures Studios), Ron Romano (Belmont University), Shawn Jones (Audio Intervisual Design), David Henszey (Henszey Sound), and Patrick Killianey (Audinate)