Issue link: http://digital.copcomm.com/i/1257029
38 is revealed that Judy and Steve were the ones who hit Jen's husband with their car. Judy moves into Jen's guest house and between dealing with Jen's two children who are having a hard time, the police investigating the hit-and-run, the Greek mafi a, and Jen's mother-in-law, things get crazy really quickly. There is a substantial amount of crying in Seasons 1 and 2. It has been labeled a dark comedy and it is defi nitely that. There is so much going on, enhanced by Liz Feldman's fantastic writing and a great cast. Liz makes it all fl ow into one big roller coaster ride with each episode ending in a cliffhanger. It has become a big hit with Season 2 quickly greenlit. The reason for that success is that the majority of the writers and directors are women. Both seasons have substantial practical locations The show is set in Laguna Beach, which they used for B roll. Instead, we spent a lot of time fi lming in San Pedro, the San Fernando Valley, and Raleigh Studios Hollywood in Season 1. In Season 2, we shot in Glendale at Riverfront Stages, which had constant construction and a nearby equipment rental warehouse with condors running all the time. The locations were not the most sound-friendly either, what locations are these days? We were always under the fl ight path when shooting in the Valley, close to the ocean in San Pedro, and a lot of locations by the freeways. The scripts called for a lot of soft-spoken dialog, when they weren't crying or screaming, but we were able to always get what we needed. My incredible team of Dirk Stout on Boom, working with me off and on for more than ten years, and Sound Utility Mitch Cohn, sixteen years and counting, always make my job easier than it should be. My cart consists of a Midas M32R Mixing Console, two Lectrosonics Venue 2's and a Lectrosonics D2, a Sound Devices Pix260 and 970, Lectrosonics SMV's, Comtek's, and IFB's. At the end of the season, I added a second D2 and one less Venue 2. My two Zaxcom 743 plug-on transmitters for the booms have been replaced by the Lectrosonics DPR. My mobile setup is on a PSC Eurocart with a Sound Devices 688, Sound Devices SL-6, Sound Devices Cl-12, and Lectrosonics SRC's. The 688 is in a bag, so whenever I need to go over the shoulder, I just disconnect two cables and I'm off and running. For Season 1, my go-to lavs were the DPA 4061 and 4071 with the Sennheiser MKE-1 used in specialty situations, as well as the Sennheiser MKH-50's and Schoeps Mini CMIT for the booms. In Season 2, we added the DPA 6060 and 6061's into the mix. On my fi rst television series, I learned to always keep an open dialog with post production, and I check in every few weeks to make sure I am addressing all their needs with editorial and the post producers. If we are in a really bad location, I always drop them a line to give them a heads up as well. When I have time, I try to go to the mix sessions of every show I work on, which is a good way to get face-time with the re-recording mixers and to see if there is anything I can do to assist them in getting the best tracks possible. Season 2 of Dead to Me premiered on May 8 on Netfl ix. L-R: Steve Morantz, Dirk Stout & Mitch Cohn on the last day of Season 2 Mitch Cohn and Christina Applegate The mix cart on Season 1 Steve Morantz on location