Fall 2015

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47 FALL 2015 / CINEMONTAGE in the closing episodes of Season 2." "We design all the different creature vocals and movement using a tight combination of designed sound effects and heavy Foley," Lago explains. "I sometimes leave a hole and see if Foley covers it, but with some backup choices." Adds Davis, "Peter is different because he carefully reads the script and develops 'character' sound for each scene. He really fills it up; some tracks won't be needed, but they're there as backups." Because of channel limitations, the team has access to a pair of 48-track Pro Tools dubbers for playback into Stage 4's Neve DFC console, according to Lago, who says he therefore has to be careful with track count. "On a typical episode, I'll target 48 tracks of mono and stereo hard effects — 32 of mono/stereo backgrounds and 16 of Foley," he says. "Ryan and I developed our workflow and channel count, together with track color-coding and labeling, while working on Lifetime's Witch of the East End, which was also mixed here at Warner Post Facilities." Although Lago will look in on the stage at the start of each mix session — "we have two busy days to re-record each episode," Davis states — the effects editor needs to return to his edit suite to continue work on upcoming episodes. "But I can send a text or instant message to Peter if I need a new effect or if visual effects require extra material," Davis reveals. "I'm working in the next building," Lago states, "and can quickly update the effects tracks and make a new Pro Tools session available to Ryan via the media server. I'm just a phone call away." Ryan Davis, left, and Peter Lago. The 100. The CW Television Network

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