Issue link: https://digital.copcomm.com/i/1277927
62 S U M M E R 2 0 2 0 I C A S Q U A R T E R L Y For example, let's take a Master Wind (orchestra conductor) which has interesting music but lacks enough bass. I can choose a deep bass wind (the slave), relatively steady for best results, and apply to it the amplitude and the variation of the fundamental frequency of the Master Wind. Thanks to my "obsession" and Kyma, I have created multiple complex sounds by applying this idea in different ways: Amplitude Analyzer, Frequency Analyzer, Vocoder, Morphing … always with the same imperative—the result must sound as organic as possible. How much time, if any, do you spend with the director or producers to learn their vision? In France, it all depends on the director. Some directors want to be thoroughly involved, others are less present. And when you are working on the third or fourth film with the same director, confidence has usually been sufficiently established so that there is no need for daily communication. That said, I try to watch the entire film at least once with the director to understand their artistic desires and to listen to the sound with them, under the best conditions, as soon as each reel is "in good shape," as Wylie Stateman says. This way, the director has the opportunity to make all their comments and to absorb and "own" the sound editing before arriving at the mix. In L.A., all information is typically communicated to me directly by the sound supervisor. The same process generally ensues, but the sound supervisor has replaced the director of the film. When you deliver tracks to the dub stage, do you have a nomenclature or structure of delivery that you adhere to help communicate your intention with your re- recording mixer? Do you name your Kyma- manipulated tracks by a particular name? Do you group them on a different bank of tracks? In L.A., I deliver my work directly to the sound supervisor. With Wylie Stateman, each member of the team transmits their sound work and Wylie builds what he calls a "Super Session." Each sound professional has their structure, which is the same for each reel. For my own sessions, I adopted the simplest possible structure: a certain number of 5.1 groups, each containing an LFE track, a center track, an LR track, and an LsRs track. Each track has a 5.0 pan (except the LFE track) and a seven-band filter. This way, the mixer can modify a pan or a filter as they wish, if necessary. Additionally, each 5.1 group has its own VCA. Finally, each group is named "BG" or "Design." All the tracks From top: A Virtual Control Surface; a Complex Sound in Kyma