CAS Quarterly

the dbx Subharmonizer, Eventide H7600, and Lexicon MX200 reverb unit. I really like affecting the sounds recording to tape and going for a more Foley FX style than your more traditional Foley stage might do. I really try to get the Foley close to its final form to really sit in the mix with reverb, pitch, and effects. I won't tell you how many times I've used my iPhone in a pinch. Sometimes you just have to grab what you have on you and do it. Usually, I try to do it properly but also owning a post company that provides Foley as an option, I often find myself on both sides of the glass. Chris: I recorded the score at the Fox Newman Scoring Stage, primarily using microphones and preamps from my own collection. We recorded into Pro Tools. I mix in my own studio, where I have three Pro Tools rigs (two of them HDX3) and an Avid S6. My main HDX rigs are 2019 Mac Pro's, one used as a mix rig and the other as a print rig. The third rig is used for Atmos, delivery, setup, and occasionally as a reverb toolbox. I monitor on Klein and Hummel (now Neumann) 410's for my LCR mains and 310's for the sides, surrounds, and ceiling. Monitor control is through Avid MTRX with DAD Pro | Mon, feeding a 16-channel Burl Mothership via Dante. Stephen: Avid S6 with 32 faders, Pro Tools, and Meyer speakers behind the screen and for surrounds. Bonnie: Pro Tools S6. A simple enough template and layout to keep it quick. These mixes are fast, so I like to keep things flexible Tell your story with Dolby Atmos "We're at a point where it's becoming essential for new high- quality content to have an immersive Dolby Atmos sound mix. From episodic content on streaming ser vices to smaller independent films, filmmakers are embracing it, and audiences are expecting it. As an audio mixer, Dolby Atmos enables me to create compelling content in the most advanced way possible." Break the barriers of sound Will Files Venom: Let There Be Carnage, Ghostbusters: Afterlife, The Invisible Man, Venom, War for the Planet of the Apes Sound Designer, Supervisor, and Re-Recording Mixer Learn more at DOLBYLABS.CO/ATMOSPRO on the stage. Everything source-side is in the box and in one session, so it has to be organized and easy to navigate. I just ask the editors to keep to a pre-dub layout. Dx, loop, music. BG's and FX split into food groups, which we decide on according to the material. Usually about eight hard FX pre-dubs and three BG's. Then Foley and props, usually four narrow pre-dubs of each and some cloth for good measure. I love the FabFilter series and Phoenix verbs. I lean on the channel strip for some all-in-one EQ and compression. Can't live without WNS and iZotope, either. I futz a lot just with EQ, but I like a little [Soundtoys] Radiator for some warmth! For these streaming shows, Avid Pro Limiter is catching anything illegal and I monitor spec obsessively with [NUGEN] VisLM. You're all part of a groundbreaking team, and setting new standards for mixers on future productions. Can you share any challenges that were unique to this episode? Shawn: So many challenges unique to this project! We have a complement of characters that are in very challenging makeup and wardrobe. Some with animatronic pieces and parts that can be difficult to work around. Our shooting environments have been some of the most challenging of my career. Chris: Anyone who knows Ludwig's scores knows that they are a hybrid of pretty heavy electronics and live elements. So, in that sense, this episode was no more challenging than Black Panther, Venom, Tenet, or any of the other projects we've done together over the years. However, Season 2 scoring was a particular challenge

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