Issue link: http://digital.copcomm.com/i/407863
54 CINEMONTAGE / NOV-DEC 14 the re-recording session begins, Sharp makes sure that nothing has melted down overnight. "I make sure the projector bulb lights up, the audio and video network fiber is up, and the playback sessions on Pro Tools are launched," he explains. "The mixing console set-up and overview methodology is unique. I've experienced mostly in-house mixers who prefer to choose the fader positions and console processors. When a project is underway, all of the console layout and automation files are minded by David and his co-mixer. If a mixer comes in who's unfamiliar with the room, I'll help with the set-up and collaborate with our stage engineers to get rolling." Sharp confesses that his biggest challenge comes from different sound editorial staff showing up with different philosophies of preparedness. "Editorial folks embrace new design tools and hardware horsepower, so we have to do our best to accommodate that," he says. "On big action movies, as sure as the sun will rise and set there will be picture changes and visual effects swap- outs. It's frequent and it's not over until it's over! "I have to be ready for an out-of-breath guy running into the room with a thumb drive from ILM containing added VFX helicopters and dirt clouds," he continues. "He'll say something like, 'They're waiting for this!' In many cases, no one told me it was coming. And because the sound editorial staff takes the hit first, I put it upon myself to encourage on-stage session conformations whenever possible, since this reduces the possibility of error when re-visiting the changed reel." Recently, while working on The Amazing Spider- Man 2 as a native Dolby Atmos mix, Sharp recalls that it was still a new sound format, and that Giammarco and Massey had to move to Sony's William Holden Theatre for three months because that's where the Atmos speaker system was installed. "It was a different room and new GLW Harrison X-Range hardware and software to accommodate Atmos and Auro-3D immersive mixes," he explains. "Hard drive space, machine power and just about every other logistic was re-invented; it took a while for all of us to adjust to those changes. But because we had all worked together for so long, it was a relatively easy transition — we knew how everybody needs to work." "Dan will work ahead and pre-build specialty sessions that we will need," Giammarco offers. "As mixers, we are always checking sound changeovers from reel to reel, and Dan is always ahead of my request for that. He will also build us a long-play screening track of the film — even before we've completed the dub! If the picture changes, he will have to build a new one, but that's part of the deal. All of that makes the set-up time for a playback screening very fast; we just check it and we are ready to go. After the mix, Dan handles all the deliverables," including the 5.1- and 7.1-channel print masters, music and effects, and other elements. "When we get to deliverables — print masters, DCP, M&E, IMAX, Atmos and Auro-3D — we discuss the workflow," Sharp adds. "I'll manage the elements to feeder partitions on the local server and physical media for the lab or facility handling distribution, including dealing with content protection and watermarking. I'm one of the custodians of elements that are high-value targets, and that's a serious responsibility." Sharp finds the lack of understanding about how much time these tasks will require irksome. "We do what we can to keep from being rushed, but it happens all the time," he says. "The old saying about 'the lack of preparation on your part does not constitute a crisis on my part' also is invoked at times. The worst thing about working in the machine room comes when you have to work while tired — because you're dedicated and threaded into the project. "Working on films in the analog days was time- consuming," he adds. "Digital was supposed to take less time, but that isn't always the case!" f Daniel Sharp.