Issue link: https://digital.copcomm.com/i/1529890
C I N E M A A U D I O S O C I E T Y. O R G 31 something that closely aligns with the editor's goal to assemble the best sounding rough cut in a timely fashion. Julie emphasized that it's important for production mixers to stay in touch and check in with the editors after a few days of filming to see how things are going and get any notes. Next, I asked Julie if she had any global preferences as it pertains to the production mix. "First and foremost, having good clean ISO's (lavs) because what we're trying to do is represent the story. Even if we're appropriate a set can be is often dictated by the budget. Conversion warehouse stages without soundproofing or acoustic treatment are common. However, oftentimes sound mixers aren't being invited to tech scouts because producers don't want to spend the money. I can't empathize enough how important it is that production mixers push to attend tech scouts! Achieving good signal-to-noise starts on a tech scout, and with some simple common sense planning, a lot can be accomplished. Next, I asked Julie about her process for delivering rough cuts as it pertains to the mix. "Oftentimes, it's the editor who has to complete the first mix, adding pressure to their delivery expectations and timeline. On an episodic, our timeline is we're usually cutting the series while it's shooting and we're getting up to one to five days to deliver an editor's cut —which is first delivered to the director. Then comes the producers' cuts, and finally the studio and or network. It's going right to the studio untouched by final sound and it can be problematic because we end up with a lot of mix notes." Not only was Julie and her AE mixing dialogue using the production mix with sub- clipped ISO's feathered in, they were also responsible for adding all the creative elements such as music, sound effects, and sometimes backgrounds. Then I wondered if Julie typically attends the final mix on her projects. Undoubtedly, a final mix would be critical to the flow of the story, with music cues, sound effects, and layered ADR. I asked if she is typically present during the final mixes and if that is common in an editor's workflow. "I rarely miss the opportunity to sit in on a final mix. It really allows me to bring forth the full collaboration between the re-recording mixer and the creative vision for the project. First and foremost, I'm listening for dialogue clarity, which is number one. [I'm] also making sure that perspectives match, such as on screen playback from a phone or being in a large room. I've sat in sessions where there was a line of ADR missing. It's great to collaborate and catch these things. It's not always possible for me to sit in a mix such as when I'm on another project while it's happening, but I'll do everything I can to attend." In speaking with Julie, it really reaffirmed how important the production mix is for the picture editor. Once you get past dailies, the production mix's primary use is for this stage of the film making process. Not only should it be the best representation of all the microphones being used in the scene, but also missing some of that great atmosphere you hear on the boom, the producers really want to make sure they got the lines. Even if it's more rough sounding, we'll always prefer the most clear dialogue tracks. So, it's important that the lavs are always working and are clean and clear of fabric noise. Also, having good levels [is] very important. I'm really hoping that the lav track will always be a go-to source when we need to grab a line that may not cut the way we need on a mix track." The Dialogue Editor Continuing forward, I reached out to ADR supervisor and dialogue editor Jason Freeman MPSE. Jason and I also worked on the same Hulu streaming series together as Julie, and his work ethic, understanding of the process, and Jason Freeman MPSE