Issue link: https://digital.copcomm.com/i/1469840
C A S Q U A R T E R L Y I S U M M E R 2 0 2 2 55 worked across two mix theaters—one running an Avid S6, the other a Euphonix S5 running Eucon. Mastering was done in a purpose-built Nearfield Atmos mastering suite with an S6. Primary plugins were FabFilter EQ, Compression, and Limiters, along with Nugen Stereoizer and Halo for up-mixing. Michael H.: We also utilized the Slapper delay plugin from The Cargo Cult, adding in multi- delays for realism from various perspectives on the rooftop concert. [We also used] reverb plugins, East West, Indoor, as well as Phoenix verbs for rooms and spatial effect. How did you seamlessly implement off-camera dialogue with footage that may or may not have been recorded at separate times? Brent: The dialogue was separated, [then] music separation became successful later in the piece. We generally had vocals, guitars, bass, and drums separate as mono tracks as a minimum. Once we entered Savile Row, we had Giles Martin's 8-track mixes to work with when they were available. Park Road Post Team: We didn't create conversations—they were all there. However, there's no doubt that there were times when the implementation was a challenge. Fortunately, we had Martin Kwok! A dialogue editor of the caliber that had the trust of Peter J., and who has worked with Peter for such a time that he had an instinct for the story Peter was looking to reveal. No matter how trying the original soundtrack was to hear, Martin, with the help of Emile Da Le Ray and "MAL," pushed through. Peter admits to being blown away by what was able to be revealed, and there were times when Peter and Jabez Olssen (editor) went back into the cut because more detail was revealed than they'd ever imagined possible. What are the ramifications of such technological advances with MAL-like leaps forward? Do you have any predictions on how this might be applied in the future? Park Road Post Team: We're well known for being on the bleeding edge of workflows and technology, and we see this as a fundamental change in how productions could approach the benefits of the separation of elements within a recording—be it location or studio Music mixer Giles Martin