Issue link: http://digital.copcomm.com/i/309120
41 MAY-JUN 14 / CINEMONTAGE possible, and for sound design I use an Avid Artist mix surface and a simple track ball; I'm looking forward to building a really small Avid S-6 console." On the mix stage, Glascock feels that automation is there for the purpose of mixing only, with plug-in use limited to reverbs, EQs and dynamics. "There are no virtual design tracks, or processing," he explains. "Anything requiring non-mix-related plug-ins will have been previously recorded; this helps to make the session simple and minimizes surprises for the re-recording engineers." Sound designer/effects editor Tim Walston, MPSE (Transcendence, Pacific Rim, Prometheus), also concedes that selecting his top five favorite plug-ins was difficult, because his needs vary from project to project. "The plug-ins I use to create giant-creature vocals are very different from the ones I use to generate the delicate processing sounds of advanced artificial intelligence. And my plug-in use is divided into two platforms: Pro Tools for editing/mixing and delivery, and Soundminer using VST for 80 percent of my sound design pre-processing of material before it reaches Pro Tools. "I use Waves Renaissance EQ6 for Soundminer, while in Pro Tools I usually have Avid EQIII seven-band on each of my tracks," he adds. "I also like iZotope RX3 Advanced; although they are available as plug-ins, I usually prefer to open a sound in the stand-alone application and fix everything once and for all before I use it. RX rescues otherwise unusable material and is also a creative tool; I use it every day. Waves Renaissance Bass is often used in conjunction with other plug-ins to add low-mid 'girth' to effects. And Sonnox TransMod can exaggerate or minimize the transient peaks or attacks of sounds. Finally, I'll add Waves L-Series Limiters in VST format, usually at the end of a chain." Sound designer/supervising sound editor Odin Benitez, MPSE (Frozen, Silver Linings Playbook, The Fighter), with Formosa Group uses McDSP G-Control for EQ and compression. "I usually have these on every channel and use them in real time; for rendering purposes, I use the Sony Oxford EQs [now Sonnox] and sometimes, in a pinch, Avid EQIII. I like Waves L2 Ultra-maximizer as a limiter to get certain effects to punch through, and I render these effects. On Frozen, we used the Avid Prolimiter as our master limiter. "For design purposes, I use a host of different plug-ins, including Waves CineMontage_May-Jun_14-3.indd 41 4/15/14 2:56 PM