Issue link: http://digital.copcomm.com/i/778398
was also mixing. How would they ever have time to hear their client's vision? Being a great recordist also involves mingling with the clients and making them feel comfortable on stage. From speaking with the clients, you get to know their likes, dislikes, food allergies, and even their biggest fears. It is important for a recordist to remember these so that client services can take every word to enforce a safe and pleasur able environment for the customer. After 16-hour days, it is important to cater to these filmmakers and make them feel good on the stage. As Fred Paragano CAS, sound supervisor, would put it, "If there's a break in that workflow, the client wants to know why." Being a great recordist requires not being afraid to pop open a bottle of wine for the cli ent, look them in the eye and tell them, "you are doing a great job." "If the recordist fails, the session could fail," Paragano states. Without having some sort of middle person between the aforementioned departments, files could get lost, sessions corrupted, deliverables out of spec, and backups never created. These are all extremely important aspects of the mix and responsibilities of the recordist that should not go by unmentioned. "It's critical to creating a good vibe on the stage and have support for myself," Rogers mentions. For the preservation of true creativity on the soundstage while creating high-end dramatic program ming, it is completely necessary to have a recordist. • crucial creative process being sonically painted around them. As Emilie Corpuz, assistant at Atomic Sound, put it, "Recordists are that gap between sound editorial and mixing. They are the first line of defense before calling an engineer. They have to be a technically-savvy person and know every system's workflow." As a recordist myself, I would argue that my most impor tant task is in file organization. I am the liaison between the soundstage and everyone else, including administra tion, sound editorial, picture department, music editorial, the network, QC, the producers, and layback. Matthew Sawelson, sound supervisor, states, "Each place has its own protocol, but there should be some uniformity in how it's done." With materials coming from all angles, it is crucial to keep consistency in file naming and structure to ensure that files coming from 12 different places can translate and remain in spec when in a hurry. There are countless times that I am asked to go between six different episodes and pull up those consecutive sessions on five different computers, find the FX and DX adds on the server, make them available to the mixers—all while also making sure the right picture is on the screen. But, do not forget that this specific picture has an off-set different to the last file we were displaying, so … change that, too! There is no room for disorganization. The role of a recordist depends on clockwork efficiency and, without it, there is no way to accurately keep track of the many aspects of a mix. Now, imagine if this same person