Issue link: http://digital.copcomm.com/i/832212
42 CINEMONTAGE / Q2 2017 32-channel HDX Pro Tools playback systems and a 192-channel stem recorder. During her first season on the show, Blank mapped out her workflow strategy. "I like to receive clean dialogue and ADR tracks, with plenty of alternates. Mathew and I prefer to print as we go, because of our outboard-gear settings. It also allows us to watch the scene one more time as viewers. I need to be well organized, with 16-20 production tracks, 10-20 of ADR plus 60-85 of Group, with call- outs and yells." For Season Six, Blank normally received 10-11 quad music stems from music editor David Klotz. "I also receive stereo and mono elements… maybe orchestra, up to four percussion, atmosphere solos, cello plus male and female vocals," she says. "Music is the emotional core of the show; we use our instincts to achieve the optimum results." Blank prefers to mix dialogue in the center channel, "although I may pan it if the action allows," she admits. "But I'm not a great fan of ping pong dialogue, especially if it takes the audience out of the scene. For music, I'll follow the quad assignments, with maybe a solo cello in the center, or re-panned as necessary to fill out the room. For ambiences and reverb, I use a Lexicon 960 processor." When he joined the show, Waters recalls, "I thought that the background ambiences could be made more interesting and present. With so many characters, I thought that each soundtrack should be a signature, with key environmental sounds to indicate where we were. I soon realized that it takes a village to make a show like Game of Thrones." On day one of a mix session, Waters will "go through the backgrounds and see what we have. I can then give Onnalee a rough format against which she can mix her dialogue elements. We also check how the effects will balance against the dialogue and music melodies to provide clear openings. Tim Kimmel.