Issue link: http://digital.copcomm.com/i/1353865
50 I M PS E . O R G available. Because of the extra dialogue editing that we did, we lessened a lot of the ADR that we would have had to record. SSS: Very good. See, that's a COVID twist! JJ: It supports the first thing I said. I think a part of this is because of COVID, we have a better film. SSS: Is that wild? Who would have thought? JJ: Go figure… SSS: Let's talk about Plan B. You said because of COVID, I had to have a Plan B. What is that? JJ: If David (Fluhr) gets COVID, he's out for two weeks. We would have Greg (King) move into the (dialogue mixer) seat, then I thought we would have John Greeley move into the (FX mixer) seat. We would still have the same schedule to move forward. See, that was the important part to figure out. If something happens to those two guys, how do you go forward? Then if it actually gets to John Lee, I'd rather wait for David to come back. Nonetheless, that's the things you plan for. Now, if I go down, probably Darren (King) would step in, and the sound effects guys are pretty much on their own, Dan & Yann. If Darren goes down, well, that would have been difficult. (laughs) SSS: There was no Plan B for Darren. JJ: There's sort of a Plan B, it would have been like Joel Shryack if he were available. Something like that. SSS: Did anybody in the crew, picture, sound, stages, anybody come down with COVID? JJ: No. It was absolutely bleak when we started pre-dubs on the Warner Bros. lot. We were the only people there. Try to picture that. You know, all those parking spots over by post- production absolutely nothing there. We played musical chairs sometimes to get the right people on the stage at the same time, whoever they were. There were nine slots available. Two of those slots were in iso(lation) rooms on the wings of the stage. We had three in the backfield, and then editor, mixer, mixer, editor (at the console), so we had seven actual (seats) on the stage. That was John Wright's old stage. We did Blindside on that stage. SSS: So, did you notice a big di›erence of dubbing because of the pandemic? JJ: No. The tech crews were great. So, for example, on the console, David likes to work with an S6, and Greg likes to work with a Pro Control. They mixed and matched all of that stuff. Great-sounding stage. They just finished getting it up to Atmos spec, and I think they're getting the downstream stuff pretty good on Atmos now. Your 5.1 and your stereo and all that stuff, it is very close to just being a button punch to get it done. SSS: Yes. Very good. Time-specific soundtracks. JJ: Period soundtracks. SSS: Where did all of that come from? JJ: Well, let's look at all of the things that I have done like The Alamo, U-571. Of course, I couldn't ask anybody from The Alamo what Left: Greg King at work, and Jon's shiny head peeking above the monitor in the background. Above: David Fluhr on the left, Otis (picture editor Rob Frazen's doggy) aka Dub Dog in center, Greg King on the right. Tech Note—notice David is using an Avid S-6 mix board while Greg is using a Pro Control. It's a wrap! Right: (L-R) In back of console: mix tech Unsun Song, supervising sound editor Jon Johnson, re-recording mixer Greg King, supervising dialogue editor Darren King, assistant picture editor Gaby Zamora. (L-R) In front of console: re-recording mixer David Fluhr, picture editor Robert Frazen, director John Lee Hancock. On floor: Otis the Dub Dog. Far right: Jon Johnson all kitted up for mix day.