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 39 Sean: The soundscape. From the moment Roy makes a decision to where he ends up at the end of the episode is really a sound journey. There's not much dialogue, but there's music driving things. There are effects that poke through the music and then disappear. So, I'd say it's one of the episodes we're by far the most proud of. Arno: I was going to say that Roy's walk, that entire scene. It was really cool and also somehow challenging for us too because he started—he got a foot cramp, and then he started limping, and then the whole moment of him walking with the pain, the scuffy footsteps and all that. It was a cool part for us to try to reflect that emotion into the footsteps that we were recording. It was fun. Brent: That was actually you dropping the F-bomb, right, in Foley? Arno: Yes. Exactly. In the form of footsteps. Yes! Brent: One part that is great that sets off that whole scene is when Roy is at the sports desk and he takes off his lavaliere microphone. I love something that David did, which was Sean: No. What's been nice is that we get quite an ample amount of time to mix these episodes compared to our other 30-minute shows. So, for us, it's been comfortable, but it speaks to the amount of detail that goes into post- production that I really think the time is warranted for what we do. With Brent's help and [supervising producer] Kip Kroeger's help, we're able to fine-tooth comb it and, all of those tiny, little bumps and ticks that just flick your ear but you don't quite notice them because they go by, we're able to clean all of that stuff out. Just the fine details. It's a lot about what you remove, you know? It's not throwing 100,000 sounds at it and making a cacophony. It's what you're not playing. Ryan: What's really nice is that the material we receive, whether it comes through David or through Arno or Jamison or Brent, it really comes over clean. There's not a ton to do, really. It's mainly just about balances and smoothing things out. David and his team do an excellent job under the circumstances in capturing the sound that we end up mixing. It's been a pleasure, really, to be able to get all this material, the amount of time that we get to spend on it, and I think the evidence is in the product that comes out at the end. What was the reason you chose this episode, "Rainbow," to submit? Ryan: What I like about this episode is it has a lot of heart in it. This awesome sound dynamic quality that's going on throughout the entirety of the show. But this particular episode has a lot of heart to it, and I think that was really important to us. Production mixer David Lascelles AMPS L-R: Re-recording mixers Ryan Kennedy and Sean Byrne CAS; ADR mixers Jamison Rabbe and Brent Findley CAS; Foley mixer Arno Stephanian CAS MPSE. Photo: Alex J. Berliner