Issue link: http://digital.copcomm.com/i/889023
DEPARTMENT www.postmagazine.com 29 POST OCTOBER 2017 that, it's very specific what we can shoot and can't shoot. We've been very traditional in that sense for a lot of the things that we've done," Cabral adds. Traditional Hawaiian music also plays a role in the soundtrack. Cabral notes that for each episode the composer, the music supervisor, the sound team and the producers gather for the spotting session. "It's about 12 to 15 of us. We figure out how the mu- sic is going to work with the sound effects. We are very specific about who is taking what moment and how we want it to play out. We figure out where the music needs to carry the emotion and where it's just a fun ride. Peter loves the fun ride of an action show, like having the music interweaving with a fast V8 car engine blowing past us," says Cabral. Ultimately, Hawaii Five-0 is meant to be a fun action show, "like a mini Die Hard," says Cabral. "We have the bromance. We have the laughs. We have the beauty. We have the action. It's really a unique show. I watch a lot of network television and there are a lot of cop shows. They might have a scene that has a gun battle but for Hawaii Five-0, we put the Die Hard-aspect in every episode of our show." BROOKLYN NINE-NINE Fox's police comedy Brooklyn Nine-Nine has started its fifth season and new episodes air on Tuesday nights. It's true that anything can happen in New York, so the police force of Brooklyn's 99 th precinct finds itself in interesting situations every week. Last season ended with the show's "hero" NYPD detec- tive Jake Peralta [Andy Samberg] and detective Rosa Diaz [Stephanie Beatriz] being sent to jail as a result of a set up by a commanding officer. Emmy and Golden Reel award-winning su- pervising sound editor Christopher B. Reeves at NBCUniversal StudioPost in Universal City, CA (www.universalstudioslot.com/studiopost), who has been with the series from the beginning, says the showrunners have consistently steered the sound in the realistic direction and have not wanted to use sound as a comedic element. "We're not trying to be silly or make a funny moment from sound effects. We're trying to be as real as possible and let the dialogue, the writing and the characters be funny. We pay attention to all the details to make the environment as real as possible, within what we consider 'movie real,'" he says. Articulating those details through Foley helps to give the characters presence and define the space. A Foley team at NBCUniversal StudioPost — following cues prepared by Foley supervisor Gary Marullo — covers everything from touches on tables and back pats to signature sounding shoes, like Rosa's heavy boots. "We even cover small things, like if an extra walks by wearing a police belt then we'll do leather squeaks and key jingles," says Reeves, who personally cuts every Foley footstep to picture. "People might think that we just walk the Foley and hang it, but no, I cut every footstep that you see. They've all been touched," adds Reeves. "Our Foley walkers are really good so usually if I line up the first footstep then it fits. But I watch every footstep that is on-screen to make sure that all of it is in sync." Brooklyn Nine-Nine is a dialogue-heavy show. Within each half-hour, there are more lines of dialogue than some hour-episodic series have, reveals Reeves. To compound that challenge, the show boasts a huge ensemble cast. There can be as many as 12 characters in a scene that need to be miked. "Every single one of them will have a radio mic on but re-recording mixer John W. Cook II (dialogue/ADR/music) much prefers to use the boom mics because the quality of sound is better. You get a richer voice, you can hear everybody better and it doesn't throw you out of the scene," says Reeves. To accommodate this preference, the produc- tion sound team covers many scenes with three boom mics. Standard coverage for a TV show is one boom. Occasionally, there are two booms. "But on Brooklyn Nine-Nine, they run three booms for us. They even dip the booms into the frame so we can get better sound. You can see the boom on-camera, but they just pay to have it CG'd out," says Reeves. Running three booms plus lavaliere mics on upward of 12 characters leads to an incredible track count for production dialogue. "It turns into The sound on Brooklyn Nine-Nine has remained consistently realistic. A dialogue heavy show, Brooklyn Nine-Nine can require three boom mics to capture it all. Supervising sound editor Kelly Cabral makes a series of trips to Honolulu to record the island's sounds for Hawaii Five-0 Hawaii Five-0 Hawaii .