Issue link: https://digital.copcomm.com/i/1530210
36 PRODUCTION SOUND & VIDEO – Winter 2025 Editor Lara Khachooni; I would designate seven of my Scorpio tracks to what I felt were the most important stems from Pro Tools, so that editorial had that information within the ISO tracks. They would have immediate access to those stems before Josh Winslade delivered the day's Pro Tools sessions on a separate drive. This meant that Myron had a streamlined system and could start cutting the music immediately as the synced rushes were delivered. These tracks were: Music Left Music Right Vocal Only Music Timecode Click Track Mono Music Live Keyboard All the above tracks were delivered at zero gain. My musical workflow uses two mix tracks: Mix track one contains a mix of dialog and live vocals. Mix track two contains mono music, with gain adjusted to an appropriate level so that when mix one and mix two are played together in mono, the vocals and music work together. Most Picture Editors nowadays are working at an absolute minimum in stereo in Avid, but many, Myron included, are working in Dolby 5.1 If I presented a mono mix track containing live vocals and music, it would require picture editorial to go back into my ISO tracks and completely remix the vocal mics to have clean vocals to add to the 5.1 music in the Avid. For dailies uploaded on internet platforms for Director, HOD's, and studio executives, mix tracks one & two are mixed so that they inhabit both L&R speakers on laptops and iPads, which gives the dailies viewers a completely mono mix of live vocals and music playback (or live keyboard) with appropriate gain levels so everything can be heard. It is a system I designed for musicals and always works extremely well. Reducing footfall was a massive undertaking on the huge sets