Issue link: http://digital.copcomm.com/i/407863
48 CINEMONTAGE / NOV-DEC 14 collaboration is essential to a well-run operation." "I assist Chuck by setting up the stages and with importing the audio and picture files, plus setting up the recorder," says Jimenez. "If there's an update for dialogue and the effects, one of us will handle that, like a wrestling tag team!" "We need to do a fair amount of editing on the stage," Rogers explains. "The sound editors either upload the files to our server or bring a drive in for Chuck, and then they are gone — back to working on the next episode. The sound supervisor sits on the stage and tells us how we are to play the scene, and Dan and I fix tracks as necessary. If a new sound is needed for whatever reason, then we'll call the editorial team to send a new file to Chuck, who will let us know where it is in the Pro Tools project." Hamilton then adds color coding to designate new material. "I'll tell Dan and Gary where it is in the session, together with adding markers to the timeline to indicate when a new fix has been implemented," he explains. "For quicker locating, the mixer can access this via the marker GUI. It's almost like a rolling cue sheet." "For today's TV shows, they bring us a full build for everything," Rogers says. "There is so much to get through during our three-day mix on The Walking Dead — at least 96 effects tracks — that we do not have time to sit around waiting for new or updated material." Hiland agrees, adding, "We have to keep moving at all times." Hamilton follows the session during the day via mirrored Pro Tools monitor screens in the machine room to make sure that the mix isn't interrupted. "Chuck also handles a lot of other things," Rogers adds. "Maybe somebody cannot get on the lot and needs a drive-on, or maybe a music editor's hard drive isn't working. It's also about client relations." "At the end of the day, we back up the Pro Tools recorder sessions to our server," Jimenez confirms. "In the case of The Walking Dead, we back up to a protection folder on the server for each of the first two days; on the third day, we back up all the material — playback and record sessions — to the server for all the parties that need to access the material [including the playback department for the HDSR video master that receives 5.1 and left-right stereo mixes]." "Even though we have all the resources of Warner Bros. post facilities, we run like an independent stage," Hiland concludes. "Chuck and Mike keep the room running flawlessly, which is very important for us; our clients also enjoy that liaison." "The ability to come in and start mixing because of these guys is a complete privilege," confirms Rogers. CONTINUED ON PAGE 50 Dan Hiland, left, and Gary Rogers. Chuck Hamilton, left, and Mike Jimenez.