Issue link: https://digital.copcomm.com/i/1262492
65 S U M M E R Q 2 I S S U E "Organized" CONTINUED FROM PAGE 14 "Pandemic" CONTINUED FROM PAGE 47 Group re-recording mixer Andy Koya- ma did. He turned a 13-foot by 12-foot section of his garage into a Dolby Atmos dub stage. "It's a completely contained studio. It's all floating, with double layer drywall and lots of acoustic treatment. I installed a 7.1.4 Atmos setup with Barefoot MM45's and their accompanying subwoofers for my L-C-R, JBL 708's as my surrounds, JBL LSR308's in the ceiling, and a couple of 12-inch JBL subwoofers. I have a 49-inch TV up front for picture reference, but I'm mainly looking at my computer screens. I have two Pro Tools rigs — one HD native and another HD system with UAD hard- ware — on Mac Minis. I don't need a large console at home, so I have a single-fader PreSonus FaderPort," Koyama said. The challenge of mixing a theatrical release in a small studio is to make that mix translate well in a large theater. "Ideally, we would all dub feature films in a feature film dub stage, but when circumstances dictate, we must adapt," Koyama stated. Before mixing in a new room, he refer- ences his past mixes that he knows very well and uses those to get attuned to the space and to set levels that will translate well to the larger dub stage. "That way, I can alter my mix-style depending on the way the sibilance is, or how harsh the midrange is, or how deep the low end is. So if you have material that you are familiar with that you know translates to a real world theater, use that to do a men- tal translation for what you're currently mixing." "No matter what stage you're mixing on, you have to keep that in the back of your mind while dubbing to get it into the mix-pocket that you are accustomed to, so that you know it will translate." "That kind of awareness," he ob - served, "comes from many, many years of dubbing," he concluded. ■ for healthcare providers, or members phoning and texting to do welfare checks on those most at risk during this crisis. Many of us, cloistered in our individ- ual homes, are now experiencing some combination of anxiety, depression, h o r ro r, b o re d o m , a n d p e r h a p s eve n d e s p e ra t i o n . We fe e l t h e s e i n j u r i e s perhaps in physical isolation from our Craig LoGiudice A S S I S TA N T S O U N D E D I T O R Q What was your professional situa- tion when you realized a shutdown was coming? We were in the middle of the "Not Too Late Show with Elmo" for HBO, and just about to get started on (Hulu's) "Ramy." Q What has your personal quarantine situation been like? P retty low-key. I'm at home with my wife, two dogs, and two cats. We're both working from home at the moment. We've tried to keep our routines about the same as if we were still commuting into Manhattan to our offices. Up before 7 am, start work at about 8:30, an hour for lunch and walking the dogs, work until about 5:30 to 6:00, rinse and repeat. Q The toughest part of this quaran- tine situation for me has been: B o re d o m , re p e t i t i o n , l a c k o f s o - cial interaction, keeping my cats off the keyboard. ■ colleagues and comrades. But we do not feel them alone, and we can best fight them together. Let's organize to strengthen the social bonds that will permit us to weather this crisis. Get involved in the IATSE's and in our local's mutual aid activities. Organize, too, in your buildings, your neighborhoods, your communities to so- lidify the ties we will need to bind up our wounds and eventually emerge from the current catastrophe not simply to return to normalcy, but to make of our world something more healthy and more just. Looking for ways to help out? Write to organizing@editorsguild.com with the word "volunteering" in the subject header, and we'll get you plugged in to some of the coronavirus-related orga- nizing activities our Guild, our parent union, and/or our allies are running to build stronger communities in this time of physical separation. ■