Issue link: https://digital.copcomm.com/i/1521235
LM101 as opposed to his previous cue L131. You can also see how I broke up each of his monologue lines as well, just in case we needed to jump to one of them quickly. Fig. 2 is my cue sheet that I marked up on the day. Knowing I was making notes just for me, I didn't even have time to mark takes the way I normally would. Our re-recording mixer, Karol Urban MPSE, introduced us to Aura Sound and Color in Burbank. They had eight isolation booths, so we could record everyone at the same time, isolated on their own track. They had iPads to see each other and could hear each other through their headphones, as well as watching the playing of the captioned film they were voicing to on large monitors in their iso booths. The dynamics of an ensemble performance were captured while keeping their clean audio separate for each actor. It meant that all the actors had to be there all day, but we got absolutely incredible performances that fit the timing and energy with each other, the Deaf actors and the Fig. 6 Fig. 7 Fig. 8 M OT I O N P I CTU R E S O U N D E D I TO R S 19 Lunch at Aura Sound and Color. show as a whole. There were a total of 804 sentences for all the actors—a record for a one-day recording session! Fig. 4 is one of the iso booths. Fig. 5 Each actor had an iPad showing all the other actors in their rooms. In the mixing booth, Hilari, Stiv Schneider (the mixer), and I also had an iPad so we could see all the actors. The actors had both a printed script where they could look ahead, as well as access the captions on screen projected in front of them as we recorded. Fig. 6 All of the monologues were recorded first and then we recorded the ensemble dialogue between the characters. Hilari and I made our day and we were happy with all of the