CineMontage

Spring 2015

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32 CINEMONTAGE / SPRING 2015 part of the process. When it became clear that Renbeck would be doing the music editing as well as supervising sound, ADR editor Ruth Fernandez stepped in to do some of the dialogue editing for the later reels. "She and I were talking throughout the entire process, so it was a nice, natural way to make that work," says Renbeck. "I'd cut the first few reels of dialogue and then she picked up the last couple, although I hung on to the music-based sections." Renbeck tips his hat to assistant sound editor Sam Miille, who has worked closely with Gearty for several years. "Sam kept everything running so well," says Renbeck. "I think a good assistant sound editor is often the key to a smoothly running post sound job. Sam was on top of everything, which allowed me to think much more on the actual editing end of things." He also credits Steven Visscher's Foley supervision, Foley artist Marko Costanzo and Foley recorder George Lara. One of the biggest challenges was figuring out how to transition from actor Dano's singing into the actual Brian Wilson track. "Paul is a capable singer so I had a great starting point," says Renbeck. "That was a major advantage when working to figure out how to make the change from actor to actual Beach Boy or how to handle hearing both Paul's and Brian's voices at the same time." Early on, Pohlad, Jenkins and Renbeck talked about what they should be aiming for during the scenes where they are recording music or singing for what would ultimately become Pet Sounds. "To try and make Paul sound exactly like Brian wouldn't really make sense," says Renbeck. "Bill's feeling was that this is the process of making Pet Sounds. We are hearing Paul [as Brian] figuring it out. For the scene where Brian and the Beach Boys lay down the vocals for 'You Still Believe in Me,' it gave me the freedom to start with Paul singing, then cross into Brian just as all the Beach Boys singing harmony begins. And then when we return to just Brian, we hear the actual Brian." Renbeck got "a little help" using DUY's Magic Spectrum (sampling Brian's singing and applying it to Paul) and using Waves Tune on a couple of words. "I was able to bring his vocals to a pretty good match," he says. "On the original vocal stems of many of the Beach Boys tracks, there is already a great lush reverb mixed in. It took a little while and a couple of happy accidents until I found a nice match. In the end, I think we get a scene where we again see Brian [Paul] trying to find his voice as he begins to sing the song, then hits his stride as his fellow Beach Boys join him." Jenkins, Gearty and Renbeck figured out how they wanted to treat the aural space of the recording studios (against that of the control room), and what it would sound like behind the glass. "When the camera does a 360-degree turn all around the studio while the musicians practice and gear is moved around, thanks to [location sound mixer] Edward Tise's production recording, we were able to move everybody around to match the camera move," says Renbeck. "Edward gave

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