Issue link: https://digital.copcomm.com/i/1491103
with what they've done. When you get songs and when you get score, your job is to figure out how it's telling the story [and knowing] when to stay out of the way and where you can help, especially in dealing with songs. It's mostly about matching what's there. There are also format issues and the legal issue of which version is being used, but ultimately, it's about keeping the intention of what they have and making it as close to what they have, but better." Occasionally, major notes can come in late in the game where the client is asking for something completely new with a tight deadline looming. This is where Johnny's experience has taught him the value of delegating. Asking the re-recording mixer to handle minor changes while he tackles notes that are more complex or require a new idea. "If you prioritize and communicate and everybody's in the same headspace, it can work." All this material flows down to the re-recording mixers to be balanced and blended, which were represented on this panel by Jonathan Greasley CAS. "I've mixed both FX and dialogue/music. I always say mixing FX is a bit more creative and mixing dialogue is a bit more problem solving. With dialogue, you're trying to make things audible, understandable, and consistent. But ultimately, figuring out what were they going for conceptually." For network TV, time budgets are pretty set, but for higher concept streaming shows with longer run times, there seems to be a bit more flexibility. Jonathan states, "I'm always pushing for more time on the stage because I want to be able to experiment. If I'm given a bunch of tracks, I want to give them all a fair shake. If you're doing network episodic, you're never going to get more time than it is accepted that you need. But if you are doing these bigger conceptual things, you'll stand a better chance [of having more time]. With these prestige high-concept streaming shows, they want it to sound like a feature. There's an expectation that you are going to deliver feature-level stuff in TV-level time." Bob Bronow then steered the discussion toward picture changes and how each department deals with the inevitable. Jonathan Greasley points out how technologies like The Cargo Cult's Matchbox software and all-in-the-box workflows have dramatically streamlined the process.