Issue link: https://digital.copcomm.com/i/1524736
32 FA L L 2 0 2 4 I C A S Q U A R T E R L Y rig or Altiverb, but he reached out to Audio Ease about getting the tool to create some IR's for Altiverb. Then there was a two- day break in the shoot and Vinod jumped into action. He grabbed a small Genelec speaker with a threaded mount for playback, cables, sweep tones, clapper, and his team to record every space on the set on his Aaton Cantar-X. Because Calcutta is a very noisy city and the old building that was the Brothel still had residents living in it and around it, Vinod's strategy was to take advantage of early hours when it was calm to record the spaces over two days. The shoot continued, crew fell ill, other challenges continued, but the production forged ahead. Early 2014 arrives and my post team in San Francisco receives turnover, and early spotting meetings with the director begin. It was going to be a long post schedule. We had composers and musicians from multiple countries. ADR had to be scheduled from a handful of studios across the globe. Foley was to arrive from New York. Design and dialogue editorial would be in San Francisco. It was a global production, but nothing out of the ordinary. Then the final obstacle was presented to us: the lead in the film has no voice. What we heard in the track was sort of a croaking whisper. We were to dub her entire performance. Not only that, we were to so Vinod took the reins, called the supervisor and editor in California, and a frame rate was agreed upon. The next challenge was that on some of the early scenes, the lead, Niyar, who was an early teen, lost her voice. Completely. Some attributed it to being on the set of a big production. Some attributed it to stage fright, as there were a number of Bollywood stars on the set. And some thought it was a throat infection. She saw a specialist and no infection was found. Whatever the cause, she could barely speak. There was no time to recast, and with it being on a foreign location, no ability to reschedule. Vinod was in talks with the director throughout the shoot about how they can fix this. He suggested on-location ADR later, once Niyar had recovered. Other ideas were floated, but no plan was truly in place. Vinod had a gut feeling that he had to find a way to assist for whatever came about to fix this in Sound editor and re-recording mixer Paul James Zahnley CAS Production sound mixer Vinod Subramanian post. The "Brothel" where the majority of the film was shot was scheduled for demolition later in the year. He had to find a way to record the spaces. Vinod had heard about a convolution reverb that had a tool for recording your own IR's. He did not have a full post-production