Issue link: http://digital.copcomm.com/i/1451070
C A S Q U A R T E R L Y I S P R I N G 2 0 2 2 35 back and meticulously recreated the camera and lighting positions to film the shaved versions. This time gap presented some minor issues for the sound team in that, in some cases, the B-side of the scene may in fact, be filmed against green screen in a different location and potentially even on a greened-out treadmill in order to simulate walking next to one another for a walk-and- talk scene. For Geoff and his team, the workflow centered on capturing the on-screen performance as cleanly as possible and making sure that Seth had the appropriate lines being fed to him for the off-camera side. When filming the A-side, Seth's lighting stand-in would often deliver the B-side lines, carefully avoiding overlap. The lines delivered by the B-side stand-in on the A-side shot would act as a placeholder in the picture edit for Seth's performance yet to come. Because of the time delay between when both sides could be filmed, with all of the bearded work happening first, editorial would then select the preferred take and mute out all of the stand-in lines; thus, opening up the placeholders for Seth to deliver on the B-side pass. The playback audio was driven by the VTR video playback on set. The preferred take was selected and prepped by post with the audio out of the video playback rig being sent through a Comtek transmitter to Seth's earpiece wirelessly. Geoff mentioned that one saving grace in such a highly technical production was that both the director, Brandon Trost, and Seth were fully invested in the process from the outset and had an excellent working relationship on set. They often worked through the technical complexities right on set and then disseminated the plan to key crew as they went. The benefit of this type of cast member is that they know and understand the importance of getting it right on set even though it is complicated. Additionally, they are less likely to want to "fix it later" or get frustrated by the delays caused by the technology on set (be it a sound delay or otherwise). It is a big ask to make when you're trying to have an actor give a compelling performance while forcing them to stay within strict parameters in order for the shot to work, which is why a good playback feed can go a long way to giving the cast something to work with when they're on a set by themselves acting to an imaginary version of themself. Finding a way to both allow the organic nature of performance and also satisfy the technical aspects of a twinning shot is a delicate dance that the mixer must do on set. Seth Rogen twinning on An American Pickle