Issue link: https://digital.copcomm.com/i/1500716
C A S Q U A R T E R L Y I S U M M E R 2 0 2 3 45 remove anything. There's definitely an advantage to having everybody isolated. But it can be a lot of extra work for editors. With all of those ISO tracks, how do you prep it for the dub stage? I do try to make it as streamlined a process as possible by delivering a session which is pretty much ready to go by using track folders, so you have the tracks mixed down on your regular channel. And then the input feeding that channel is all the individual ISO tracks within that group track folder. You can either be hearing the mix or, if you want to doctor it up, you can go to the inputs and you can work the faders individually. It was the first time I'd needed to use track folders. I swear you learn something new on Pro Tools all the time! What was your setup like since you were dealing with all this remote talent? I'll send a picture, but I have cue sheets on an iPad and performer names on the fader LED's. The center section has the input faders from each actor coming in via Cleanfeed, which then go to both ISO tracks for each actor and also to a mono mixdown track. [Far right channel of the left section with the red record button lit up in the picture below.] The left section also has inputs for other remote applications such as Zoom and SessionLinkPRO, as well as the sum of the Cleanfeed inputs before hitting the mixdown track. The section on the right has guide tracks and some effects (reverb and delay) for playback as appropriate. may not want to work on all the time, even though it was amazing. I said, "I need a comedy and I want to do [Murders]." It sounded like so much fun and was exactly what I needed. I did Season 1 and, of course, Season 2. Right now, we're shooting Season 3, which is amazingly good! What's production like and what tools are you using? Most of the show is shot on sound stages. The second season was a lot more on stages than the first. It's amazing to work on the show because Steve and Marty are masters, and Selena is a sweetheart. They're so easy to work with. But not only that, the surrounding cast members are absolutely amazing. I use a Sound Devices 970 for my main recorder. It's a very simple system. I love the big screen and can see everything. I use the Schoeps CMC series. I love it. I use Lectrosonics 411a series. Kira Smith is my boom operator for Season 2, and T.R. Boyce has been my utility for 12 years. Are there any scenes from this particular episode that stand out to you? The party scenes were the most challenging. They shot it going back-and-forth from the '70s to current day, making sure everything sounded even when they're cutting. Even though we're doing a 360, we have to get a boom in there. There were 18 people in the scene, and not everybody was speaking, but when they were speaking, it's rapid fire. I had two booms deployed all the time. I wish I had three sometimes because it would have made things easier. CHRIS NAVARRO CAS – ADR Mixer Chris, was there a good deal of ADR recorded for this episode? Well, the production sound was excellent, so there was, in fact, no principal ADR on this particular episode! However, the ADR was group, which was recorded during the pandemic from actors' homes remotely and mixed together for delivery. That must have been an interesting approach for group. If one of the actors has a bump on their mic, you know you have those ISO tracks to go back to. The mixers on the re-recording stage, if need be, can rebalance. They can add or ADR setup for the show ADR mixer Chris Navarro CAS