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 37 car (Mark Ruffalo + two officers) so they could react and respond to Mark's B-side character, who they would come back to reshoot in a few weeks. The key here was that the director was able to make the timing decisions for the B-side lines in the scene in collaboration with the natural rhythm of what the cast were doing take-to-take. This is the type of setup where Damian and his team really made sure the director and cast were fully supported throughout so the technology and complexity of the setup didn't detract from the story being told or the performances being delivered. A difficult task to do when you're twinning in a moving vehicle! Finally, I had the chance to speak with Matt McLarty. Matt is another New York-based production mixer who mixed Netflix's Living with Yourself, featuring Paul Rudd, and is currently filming a project with Rachel Weisz involving twinning in NY. Of the three mixers I spoke with, Matt's setup for both the Paul Rudd project and his current project with Rachel Weisz are the most in-depth and technical but, as Matt was quick to point out, a lot of what he was doing depended on the comfort level of the actor and the system that the actor, director, DP, and VFX supervisor establish. Once the team agreed on a set of parameters that they were all happy with, the technicians went to work to create workflow plans. On Living with Yourself, Matt worked with Paul Rudd to twin himself. Paul didn't want to work opposite from a lighting stand-in or have the B-side lines read to him from off-camera. Instead, he preferred to pre- record his B-side lines (which were usually grabbed during a rehearsal), import them into Pro Tools, and edit each line into separate clips. These clips could then be triggered from an iPad by Paul Rudd's acting partner, who had rehearsed the scene with him and knew the timing that Paul and the director had worked out. When the A-side was filmed, the acting partner would trigger the lines individually to Paul and the output of the iPad would be sent via a Lectrosonics transmitter back to Matt's cart and then to Paul's Earwig. In this setup, Paul had to wear an earpiece for both the A-side and B-side. On the A-side, he heard the triggered B-side lines from the iPad. On the B-side, he heard the preferred take that he had just performed. At Matt's cart, he would route the B-side lines to cast Earwigs, record a clean iso, and Paul Rudd twinning on Living with Yourself Matt McLarty working on Living with Yourself