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M OT I O N P I CTU R E S O U N D E D I TO R S 89 librarian and participating in these recording sessions is immensely helpful for me when remastering and logging effects. Recording days are usually quite hectic with multiple recordists, microphones, and recorders running. Voice slates are not always practical, so I take detailed notes, photos, and videos which can later be used to catalogue everything that was recorded. It takes a lot of people, time, and money to accomplish something of this magnitude. The Dark Knight record sessions were a huge undertaking and extremely fun, exhausting days but really benefitted the film's soundtrack. When people think about film sound, they mostly think about sound FX, but your role also extends to working with the dialogue editors. What is your involvement in the dialogue side of any film? A lot of my time is involved with the sound effects edit since it is often the most complicated part of the process. Mixing 'in the box' requires careful management of the FX sessions to retain all the mix data as sessions pass back-and-forth between editorial and the mix stage. But I also handle ADR and dialogue duties as well. After we take delivery of the sound dailies, it is usually a race to get dialogue reels ready for the editors. If the file metadata has been ingested correctly by the picture department, the assembly is relatively straightforward. Depending on the project, we assemble each reel using an EDL from the picture editor and a piece of software to align the original audio with each picture cut. I tend to favour a method using the AAF provided by the picture editor to assemble the dialogue cut in Pro Tools. I am comfortable in the Pro Tools environment and have developed some methods to keep troubles to a minimum. I am also quite involved in the ADR sessions. I will liaise with the ADR supervisor, communicating their requests to the picture department, post supervisor, and the various ADR stages. I usually send the ADR cues and videos to the various stages and organise the ADR recordings after the session is complete. ADR can range anywhere from easy to what have we gotten ourselves into?! Probably the most challenging ADR project I have ever been involved with was Dune: Part Two. We had to loop all the actors within a two-week period before the Screen Actors Guild strike took effect. Here is an excerpt from my log of Dune: Part Two as an example: June 14, 2023 – The first of three US Group ADR session begins today. We are to record interior Chakobsa (Fremen language) crowds in the morning followed by exteriors at the Warner Bros. jungle set in the afternoon. Fabien (dialect coach) will tie in from London to assist with pronunciation. Visiting Stonehenge during work on Wonder Woman 1984, 2019. Photo courtesy of Andrew Bock.