Issue link: https://digital.copcomm.com/i/1535806
38 S U M M E R 2 0 2 5 I C A S Q U A R T E R L Y the mics. Our DP calls it 'reactionary filmmaking.' You get something thrown at you, and you just figure it out." When discussing location considerations: "We set up all the refrigeration so we could control it remotely. Also, I pushed very hard to get a low-velocity, high-volume air handler system put in so that it doesn't sound like a jet engine taking off. The special effects department was really helpful in that regard. Once we got that in, we were able to use it for Seasons 2 through 4." Scott shared his thoughts on coverage: "We need a second or third boom to try to cover it all, because there's a lot of overlapping dialogue. If they don't have the off stage, it's gonna be next to impossible to cut. [Dialogue editor] Evan Benjamin has said that was a big help in trying to slice into a lot of those scenes. Otherwise, there's no place to get a knife into it." As for gear: "All of my consoles are analog boards. We're obviously still recording digitally, but I need to see everything laid out in front of me—I don't want to have to remember something three levels deep down in some menu. You might have a channel strip that occasionally goes out, but for the entire analog board to go down is pretty rare." ADR Mixer Patrick Christensen Patrick is the New York-based ADR mixer who works at Sound Lounge in NY with "Major." On how he got into the world of ADR: "ADR mixing was an opportunity for me to move from commercials over to film and television, to find something that I could be interested in. I try to teach kids these days to be versatile. Don't have the blinders on when it comes to your career, because there are always opportunities out there that you may not know you will love. I've been doing ADR for 15 years now, and we've become a stage that people can rely on." Sharing experiences from his work on The Bear: "For Group, we have spotting notes, and our dialogue editors say, 'These are the practical things we need for the scene.' We'll get the basic stuff, and then we'll feel out what [creator/producer/ showrunner] Christopher Storer wants to do on atmospheric or perception for the art of the sound. It's like playing two completely different music tracks at the same time. For example, we may move through a scene, and we may have the group getting angry, because it's all in Carmy's head, but we'll also do a pass of normal so we can play either reality. We also try not to name the dishes because we just don't know what's there on the shooting day." And when recording the actors: "The individual ADR is never note-heavy at all. I just let them record a few takes, get a few versions, and the AP or director brings the performance into where they want it. The actors are all fantastic people." Asked how he may describe the series to someone who hasn't yet watched: "The show brings a little bit of Kitchen Confidential to life. So, if you loved [Anthony} Bourdain shows and you wanted to know his world—and every chef's world for that matter—the audience can eat up that drama parsed with equal family drama." ADR Mixer Kendall Barron Kendall, who handles Chicago-based ADR at Periscope Post & Audio, shares her professional background: "I grew up in the suburbs and went to DePaul and studied sound for film there. I did two internships after school, and one of them was at Periscope. I left my resume, and about six months later, I got a call; they were doing interviews for an assistant position. I was an assistant for two or three years, and they asked if I wanted to step up into the lead mixer position on the ADR stage since I had watched the prior mixer do it for two years. Of course, I said yes. It was one of those 'right time, right place' moments." "We're one of the two post houses on the actual film lot here at Cinespace Chicago. Productions like to send their actors to Periscope because we're on the lot. The actors walk across Kendall Barron Patrick Christensen Connor Nagy Ryan Collison