Issue link: https://digital.copcomm.com/i/1124770
48 CINEMONTAGE / Q2 2019 us pull the music off the screen a bit and helps with dialogue clarity, because the center channel isn't too overloaded with dialogue, music and sound effects," DeAngelis continues. "Pads and strings really benefit from being placed in the space, but sources like drums and bass don't come off the screen as elegantly. Additionally, since source music and futz dialogue often want to be placed specifically with reference to some radio or physical speaker seen on screen, those are obvious Atmos objects. It's easy to overuse overheads that will make your mix sound mono, but I've found they really support the tone and texture of certain reverbs." The Dolby RMU handled folding down of the Native Atmos mix to 5.1-channel and stereo mixes, which preserves a lot of acoustic separation, according to DeAngelis. "We were always checking the stereo mix in a separate nearfield room to make sure the fold-down was translating; we've been able to pick up a number of tricks over our past Atmos shows. I always think that what I might do in Atmos surround will benefit the intention of the story, and not just what I see on screen." In terms of track layouts, the mixer recalls that they were pretty consistent. "I carried 12 dialogue tracks, eight futzed dialogue tracks [four of which were objects], 16 ADR tracks, 16 group tracks, four foreign dialogue tracks and eight foreign group tracks," he says. "On the music side, I had 24 music 5.1 stem tracks, 12 stereo music Atmos objects and four music stereo song tracks. The foreign and music object tracks expand or contract to fit the needs of a specific part." The two re-recording mixers report that they have always worked a little differently from most dub stages. "We mix completely in-the-box on an Avid S6 console, so we can separate at will and simultaneously work on different sections, which dramatically reduces downtime," DeAngelis explains. "Depending on the track and availability, I'll either work on a pair of custom in-ear monitors that JH Audio built for me, or in a pre-dub room behind our stage. In this way, both Chris [Carpenter] and I get a lot more time on the speakers than otherwise. Once I've been through the dialogue, ADR and group, and Chris has been through the effects, backgrounds and Foley, we will both begin a pass together where I lay in music and we work the tracks against each other." In most cases, the mixers took their direction from the temp track. "It's usually quite instructional as to what the picture editor and producer/director want," DeAngelis continues. "Chris and I have a great rapport built over 20 years; we rarely have to negotiate anything since the track comes together and the story really dictates what is sonically most important. That doesn't mean there aren't times where we have When They See Us. Netflix