Issue link: https://digital.copcomm.com/i/1081203
54 CINEMONTAGE / Q1 2019 roll through a scene listening to just the dialogue and music to get an idea of what the dialogue sounds like, and what the music is doing. Because he's set up to work in-the-box, Ken can jump off- line and get backgrounds in the ballpark while I do a pass or two on dialogue for that scene. On my music pass, he'll jump back on-line and rough in the hard effects or Foley and take another pass or two to finish up any loose ends. Then we move on to the next scene." "I would love to have time for pre-dubs," Kobett laments. "We lock up together but have the ability to un-hook Pro Tools playback via Avid Satellite and write automation off-line; I do this constantly. I'll preview levels, EQ and reverb settings while Vicki is rolling on dialogue. I write the preview, jump back on line to lock up with the scene and then mix fader levels." On the dialogue/music side, Lemar uses a Pro Tools template that accommodates 10 tracks of group ADR, 10 tracks of principal ADR, nine tracks for production, one for production futz and two X tracks. "Any ADR alt tracks are left inactive and hidden, where they can easily be dragged into active tracks for auditioning," she explains. "For this show, score stems fit very nicely into two sets of eight stereo tracks, A and B. Needle-drops are anywhere from one to four stereo tracks." "Music really sets the overall tone of the show, while effects ground the dialogue and give ambience support," Kobett offers. "The big scare moments get to be really big on the effects side. Roberto also likes it gory; the gushier the better. The quieter moments, specifically when the actors whisper, are difficult due to noise. With a lot of practical fires, the gas hiss is quite pronounced; because Roberto did not want to add fire crackle effects there was a ton of de-noising for Vicki. In those areas I would introduce more ambience to help mask the noise." The mix team prints to a 5.0 dialogue stem and a 5.0 group stem, plus 5.1 effects, Foley and background stems. "I have internal bussing for my dialogue chains; outputs feed these two stems on the master recorder," Lemar explains. "I use a single 5.1 buss for music, although there have been a couple of instances of singing, for which I'll print the vocals to a separate 5.1-channel stem. This means that the international mix has the flexibility to dub a foreign talent singing, or to use the English version." With dialogue panned primarily into the center channel, she uses the fronts and surround channels mostly for reverb. "I'll pan dialogue left/ right for off-screen lines coming from another room, or pan from left/right to center if a character is walking into frame — as long as it doesn't take the audience out of the scene. There have been some opportunities to fly dialogue around the room during chants and spells, which is always fun." Her main dialogue reverb is Audio Ease's Altiverb plug-in. "I use mono, stereo and 5.1 output reverbs, depending on what the scene calls for," she says. "I have about a half-dozen programs that I use regularly. I also use the console panners to spread the music; there's no concern about how it will fold down, which is great. And I use Altiverb and Revibe II for music reverb." To streamline and categorize the effects build, Kobett and the lead effects editor discussed track layout after the first few episodes had been mixed. "It was an easy task as Lloyd really does an outstanding job keeping things organized," Kobett says. "I had some personal preferences and there were elements that I knew we could cut back — like fire options. For hard effects, I receive around 35 monos, 12 stereos and 10 design stereos. Backgrounds are three sets of eight stereos and eight monos per set. Foley is 12 mono tracks. I also carry a pair of 5.1 tracks for main title effects and occasional pre-dubbed effects." "Effects generally live within music [until the mix becomes intense]," Kobett adds. "There is always a battle for sonic real estate between effects and music; this show is no different. But we manage to play together nicely." According Chilling Adventures of Sabrina. Netflix