Issue link: http://digital.copcomm.com/i/551510
41 SUMMER 2015 / CINEMONTAGE his mixing partner Joe Barnett handled dialogue and music, and Jared Marshack served as mix technician. Sound designer on the project was Kris Fenske, with Matt Wilson handling sound effects editing for the fight sequences and Bill Dean the complex atmospheres. In essence, the supervising sound editor's strategy for the Native Atmos soundtrack was to pre-mix in Atmos all of the sound design, effects, backgrounds and Foley effects in advance of the Stage B pre-dubs, which were limited to just six days. "With budgets decreasing, we needed to figure out a way to make Atmos work in the most expedient fashion possible, and concentrate on creativity and not on logistics," Hemphill concedes. "Lon eliminated a huge amount of pre-dub time on Stage B because he did that work in his room." Bender confirms: "That was the result of 195 hours of pre-mixing here in my editorial suite." With a track record of responding to workflow issues with solutions that use technology in the service of creativity, Bender is no stranger to invention. In 1994, he received an Academy Award for Scientific and Technical Achievement Lon Bender, left, and Doug Hemphill on Audio Head Stage B screening an scene from Monk Comes Down the Mountain.