Issue link: https://digital.copcomm.com/i/1521235
22 M PS E . O R G It has been challenging to find the balance for both the hearing audiences and the Deaf community. But with Hilari's guidance, we now have a great project. I really do enjoy figuring stuff out, as frustrating as it is sometimes. Here are two screenshots of portions of my massive session (I'm running on a Mac Studio 2022 on Monterey v 12.5.1 for those keeping track). DEAR DIALOGUE DETECTIVE I have them inactive in Fig. 11 but when we were selecting ADR, everything was in active, play mode. My selects are at the top. Because I wanted control over how much reverb I was putting on the ADR, I duped each clip and put it on a REVERB channel which is why you see two of each of the selects. I wanted to be able to match the perspective of the film—so when we're close to the actor, less reverb— further away, a bit more reverb. I also bussed all the reverb separately so there would be even more control and made a "reverb only" stem. Fig. 12 shows the various takes with their track colors. I'm sure there are different (or better?) ways to accomplish this, but since I'm not really a mixer, this is what I figured out how to do! Thank you for coming along the journey with me. It's been a very challenging project to figure out but it's also one of the most rewarding ones. I hope you get a chance to experience this very unique project! Please visit NotAnotherDeafStory .com to see more and to sign up for news and screenings. After we wrapped Not Another Deaf Story, actor Justin Jackerson and editor Chase Chambers approached me to do the sound design and mix a short film for the Easterseals Disability Film Challenge. They had Deaf actors and hearing actors, so the film is a mix of sound, ASL, and captions. It's a fun, quirky '40s film noir detective mystery in black-and- white. They had a production sound mixer on board. I told them to record everything! People mistakenly think that because there's no dialogue, we don't need to record sound! Nothing could be farther from the truth. It's a lot harder to find sound effects and record Foley to a silent piece of film than it is to record it while it's happening. There's ambience, there's movements, and it's always preferable to have it recorded. My usual way of working is to do the sound editing and effects and then send a sample to the director to listen to and approve, but since the director was Deaf, that wasn't an option. They wanted me to choose music for it, too! I only had two days to edit and mix it, so I found some cool music from Pond5. I found it an odd feeling to be the one to choose music and sound effects with no input other than what the movie was telling me. Chase had a hearing friend listen to the mix and he liked what I did. Whew! I hope that more projects come out of this collaboration between the Deaf community and hearing professionals and I think as more of us get to work on projects like this, we become more inclusive and understanding of each others' challenges in life. Tell me about one of your more challenging projects! If you have any questions or comments, please email me. Thanks for listening! (See what I did there?!) vickierosesampson@gmail.com Fig. 12 Fig. 11