Issue link: https://digital.copcomm.com/i/1515063
C I N E M A A U D I O S O C I E T Y. O R G 47 can't do it on everything because there are times where you'll get notes and it may not be the way you would do it, but is it really going to hurt the movie? Sometimes it's just different. If I was the director, I wouldn't do it that way, but guess what, I'm not the director! Part of the whole mixing process is that we get our pass, right? So, I get to do every note I want first, and then I can adjust for them. Also, be wary when people say, "Don't worry, I'll take the fall, you're fine." Because, then in the heat, it's amazing what happens and suddenly, it's like, "Yeah, I don't remember it being that loud." Production Sound Mixer Willie D. Burton CAS During the early part of my career, I was working on this miniseries, Roots. Great project, great people, great cast and crew having a wonderful time. One day, we were filming this scene and this one actor, after every take, wanted to hear the playback. Now, this was in the days of the mono Nagra, so when they said "Cut," I would have to rewind to the beginning of the take to make sure that he could hear the playback. He would hold up production for 30 seconds or so until he heard a playback before moving on. And we did this throughout the morning. We had just finished a take and were getting ready to break for lunch. So I said okay, let me rewind back to the beginning of the take because he'll want to hear the playback. We broke for lunch, but this time he didn't listen to the playback. After lunch, we were continuing with that same scene, so everyone was ready to go right away. We started up and the director said, "Roll it." But at the end of that first take, I realized that I had just erased the take we did before lunch. You think that's not shocking? I thought, "How could I make that mistake? Why didn't I think about it?" They were so ready to roll, and I just did not think about it. I erased that take, and the director really wanted that take. So, we had to do more takes because of my mistake. I mean, I worked very hard during my entire career not to make huge mistakes. There are always little mistakes you're going to make, that's human nature. But it was just one of those things. People may not make that exact mistake anymore because now you can't record over your tracks, but something else will happen. If you do make a mistake, I think the most important On one scene that we had temped, the highest-up executive had said, "You know, that scene right there … you're on the verge of being too loud but you're not. You hit it right there where it's not harsh or hurtful, but it's powerful and living in the low end. Great job, I love it!" Then we get into the final mix, and I'm told, "Okay, so let's push it a little bit louder." Next, they wanted to start flying in high-end piercing effects from the Avid and I put my foot down and asked, "What are we doing? We were told when we temped, that this scene was perfect. Now we're making it louder and brighter. I don't feel like we're doing the right thing." Then I was told by one of the creatives, "Don't worry if it comes up, I'll take the blame. You'll be off the hook." One of the things I learned from a lot of experienced mixers was that at the end of the movie it doesn't say, "directed by Gabe Guy." You know? It's directed by the director and, in the end, there is a hierarchy of executives and directors and picture editors and re-recording mixers and sound designers. I think I would deal with it a lot differently now with more shows under my belt. But at the time, I was like, "Well, you know, if this is the way they want it, I gave them my opinion and they're saying they're going to take the heat for it so, I guess so." And then long story short, yes, there was a big note that the whole movie was basically too loud. And we were all hung out to dry. The guy who said he was going to take the heat threw the dub stage under the bus saying, "I never remember it being this loud before. I don't know what happened." So, what I took away from it is that the job of a sound mixer is a combination of technical and creative. We're not just button pushers. We are being paid for our input, our expertise, our insight, and our cautionary tales. I think it's having the strength to speak up and speak your mind, but then balance that. You SOMETIMES THE MOST IMPORTANT LESSONS ARE LEARNED THE HARD WAY Production sound mixer Willie D. Burton CAS