Post Magazine

September/October 2020

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SOUNDTRACK 29 POST SEPT/OCT 2020 view, since his availability is so limited. "He'll come in on the third day and we'll have cued up two shows for him to watch," Benjamin notes. "And he will have just a handful of notes. He's very particu- lar, specific, decisive, but also uses broad strokes. He doesn't get into the weeds and into the incredible detail, which exists in the tracks." The mixers have high praise for Bateman and his production company Aggregate Films, noting that he is much more than just a good actor, writer and producer. "He knows just about everything about everything in the business or process," says Benjamin. "He is just astounding." "Even the technical 'sausage making' part of it, he really knows," Valentine adds. The 36-by-25-foot studio is based around Avid Pro Tools, with two S6 M40 mixing surfaces featuring 24 faders per mixer. The Avid feeds a Panasonic laser projector, which Benjamin will use while Valentine works on a broadcast monitor. "I have two monitors," says Valentine, "and I split them up between my picture on my system and all the goodies I have to mix with. So when Larry is doing his pre-dub on dialogue, he's looking at the projected picture, and I just look at the picture on a monitor so that we could work on scenes independently. There's no arguing over picture." The finale in Season 3 features a shoot- ing that will catch the audience by surprise. "There's blood splatter. It's so shock- ing," recalls Benjamin. "It's very well executed," says Valentine of the scene. "It's not often...the killing off of a character that has become a series regular…That's shocking in itself. And then to have it done in a way — auditorially — where it's shocking and it's leading up to that moment. You had a lot of peaks and valleys…We really try to honor the space between the notes and have those dynamic moments. To make something loud — how do you do that? You make something before it soft. So, this episode in particular had a lot of those instances of dynamics." The show is mixed in 5.1. Visit the Post Website (postmagazine. com) for more Ozark coverage, including insight from Emmy-nominated score mixer Phil McGowan, who details his work with composers Danny Bensi and Saunder Jurriaans, and how he converts their stereo recordings into a multi-channel mix. Music is the last element added to the mix. Season 3 was mixed at Formosa Group. Avid S6 consoles are used for the mix.

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