Issue link: https://digital.copcomm.com/i/1335892
52 I M PS E . O R G without the need to rely on score or "design-y" sounds. Olivia excels at this. Loop group session number two. We waited until the week before pre-dubs to shoot the remaining group to ensure we covered everything in the newly shot additional material. This time, we were able to shoot the group at Igloo Studios as they have enough rooms to record 12 actors safely— two actors per room with a baffl e between them. This allowed for the highest possible fi delity in recording and monitoring the session. We brought in Ashley Lambert as group leader, someone who Paul has worked with a lot over the years. While not quite as carefully crafted as Roma where I've heard that every line of group was scripted, we aspired to use no library walla in the fi lm and be sensitive to every accent, dialect, and vernacular of the day so that our background voices felt as authentic as possible. I'm happy to report we successfully achieved this goal, recording in total just north of 300 group cues across the two sessions. Regina was a huge help on the day chiming in with thoughts and direction for the group. I ended up bringing 128 tracks of group to the stage, each track a single voice and blended them as best I could during pre- dubs with further tweaking during fi nal. On the one hand, it is way more labor-intensive to cut and mix such large numbers of tracks of group but the benefi t is that I have complete control over every single voice which appeals to my obsessiveness in getting the mix just right. Something that Paul, Michael, and I do when we cut is we use region groups to deliver notes to each other and to the mix—a blank region group colored sticky-note yellow with information on what lies in the tracks ahead. I highly recommend this approach as it can really speed things up in the mix. We mixed the fi lm on Formosa's stage A at The Lot in 5.1. We