Issue link: https://digital.copcomm.com/i/1535806
to both operate as if we're on two separate dub stages. Since we both come from feature backgrounds, we wanted to bring a feature-level polish to streaming schedules. So, for the first day and a half, I'd pre-dub dialogue, ADR, and group in headphones. Meanwhile, Greg had the room to work through Foley and backgrounds without us stepping on each other. Then we'd flip—I'd take over the room to work music, and Greg would go to phones to fine-tune effects. By day three, we were together in the room for final balance. GR: Yeah, it was incredible because we were doubling up our time. And the amazing thing is, when we brought our tracks together, they were already sitting right where they needed to be. That's just the benefit of doing this a long time—you know your pocket. It meant we could spend more time refining instead of rebalancing. With this back-and-forth process on the stage, does it impact the show's dynamic range? SP: It's cliché to say, but I believe dialogue is king, even on a show that's 80% Japanese with subtitles. It was very clear to us that we were going to sculpt for the Japanese dialogue in the same manner as the English, and not use the subtitles as a crutch. Greg and I were in sync on this. In the mix, I could look over to Greg after playing back on the small [speakers] and before I could say a word, he'd say, "I hear it." So, we'd back it up, I'd hear him make a move, then we'd play it down again—and that was it, the dialogue was clearer. GR: I mean, clarity is key—and the story, the narrative, is the most important thing. We're there to support that. I don't want to obscure it or make it confusing by losing articulation or intelligibility. No matter how big the sound effects are or how cool something might be on my end, it's never worth losing a line of dialogue over. And when you think about dynamic range, this show had the most delicate sequences and nuance and air and breaths. Then the big epic battle sequences with cannons, arrows, huge moments—it was a huge dynamic range. That contrast between very light and delicate to big and bold was what made it super exciting. SP: I'd like to take a moment to talk about the score. Our composers—Atticus and Leo Ross and Nick Chuba—did an incredible job. Even before hearing the music, we knew the show was special from the visuals and sound design. But once the score came in, it elevated everything. Music can either lift a scene or work against it, but this one supported us beautifully. Sometimes Greg would lean over and ask for a little more oomph—like when the taiko drums hit—and we'd find ways to push the dynamics just right. I think that kind of trust and value of each other's taste made it a very harmonious mix experience. GR: It's always more fun—and more productive—when the room is a happy, collaborative place. The mix reflects that energy. When people feel comfortable and egos are in check, L-R: Arno Stephanian CAS MPSE, Steve Pederson CAS, and Greg Russell CAS