Issue link: http://digital.copcomm.com/i/1316380
50 I M PS E . O R G always necessarily your own contribution... What I've learned is the best way to make the film, is to feel the mix through someone else's contribution." On the film Zodiac, Klyce shifted to mixing music. Since then, he has chosen to mix music on all of Fincher's films. He finds that shifting his perspective in the mix, isolating and studying the various layers of the score and how it relates to the picture has revealed to him a greater understanding of the entire soundtrack. Klyce explains, "If I'm holding the music faders, I become very aware of the effort that the composer has put into each element." That perspective allows him to make mix decisions that best serve the film. Whether that's pitch shifting the sound design to be harmonic or dissonant to the score, to favor a particular element of the design over the score, or to play music over sound design. Representing teams at Warner Bros., Technicolor, Fox, and Sony, there was a unified refrain from the panel attesting to the scramble necessary to transition work materials from studio LAN systems to hard-drive arrays, upgrade or build editing systems from scratch that would be robust enough to handle the high track counts, and increasing home internet speeds to be able that fit an emotion that he was craving to fulfill in his movie … it allowed the music to be the music, it wasn't necessarily a temp track, even though it was." With some of the composed pieces fitting exactly the scene they had in mind, while others wound up in unexpected locations, Ross and Reznor ended up being able to refine the edits with the understanding of exactly what Fincher was looking for the music to achieve in the scene. As a supervising sound editor/designer/re-recording mixer, one of the greatest lessons Klyce has learned is that "whenever any of us work on a project, our own contribution to that project is what we've done, and we want it to speak… So, there's an initial instinct to favor your contribution in a mix because it's the thing that you did that you think is going to make the movie better. But the truth of the matter is that there's another view of the mix which is, what is best for the film isn't Can't Stop, Won't Stop: Post Sound Editorial During the Shutdown In the MPSE-sponsored panel discussion moderated by Frank Morrone CAS MPSE, supervising sound editors Michael Babcock CAS, Gary Megregian MPSE, Sean Massey MPSE, and Mandell Winter MPSE discussed their transition to working from home and the technical hurdles that were necessary to overcome both for themselves and their teams who were in the midst of various films and television series. to quickly transfer files between picture departments, their editorial teams, and the mixers who were all undergoing similar concerns. Babcock, who acts as both a supervising sound editor and re-recording mixer on many projects, is very used to the fast-paced nature of his entire team working Moderator FRANK MORRONE CAS MPSE Supervising Sound Editors MICHAEL BABCOCK CAS GARY MEGREGIAN MPSE SEAN MASSEY MPSE MANDELL WINTER MPSE