Issue link: https://digital.copcomm.com/i/1521715
Summer 2024 – LOCAL695.COM 47 really elevates our work. Julie Monroe, Jeff Nichols' longtime editor, was also there the day I sat in. Nothing made me prouder than when they'd play a scene, and Julie would turn to me and say happily, "That's your production track!" There was one scene where I pointed out we had recorded a wild track, as I was concerned about the usability of the production track. Julie looked at me and said, "Oh, yeah, we saw your wild track, we didn't use it, production track was fine." Other than some walla from our main cast to fill in the bar scenes, no ADR was used. That is a huge testament to my incredible team of David and Zach, and to the magical work Will Files and his team did. If I sound like I can't stop talking about what a great experience can point an omni-directional lav). The transmitters were also set to the 40mW high-power option. I was able to pick up that transmission even from a follow vehicle quite a distance away, and because of how we'd set the gain staging, we never peaked or had issues with over-modulation. The moment we'd cut, David and Zach would run out, pull the mics, add fresh tape, and pick a new bike to wire. This way, we got as many bikes as possible over the course of every scene. While working with Jeff Nichols was a dream job for its own reasons, there was also an added benefit for me. Jeff went to college with Will Files MPSE, who is not only an award- winning Sound Designer and Re-recording Mixer, but also a good personal friend of mine. We always talk how important it is to maintain a good relationship between ourselves and our counterparts in post, and in this case, getting to have daily conversations with Will about the challenges we faced, and being able to brainstorm about solutions, could not have been easier. Am I saying that everyone needs to befriend their show's Re-recording Mixer? No … but it can't hurt! Will was also insistent that I would get to visit during one of the final mix sessions at Deluxe. I can count on one hand how many times I've been invited to sit in on a final mix session, and both times, it's been with Will. It's such an educational and eye- opening experience for a Production Sound Mixer to get to see how their tracks are used and how the artistry of the post team