Issue link: https://digital.copcomm.com/i/1535880
M OT I O N P I CTU R E S O U N D E D I TO R S 69 and every track gets its own name in the metadata. You type it into the machine so that the transfer and post people can see exactly which character is on which track which I also note in my sound reports. You know, we make a joke on set that nobody ever reads our report, but maybe they will once in a while. [laughs] Sarah Streit and Sara Stern: We read them! [laughs] MP: Great! Well, we took diligent notes. Some of the Catskills episodes in Season 2 were so big, we expanded to a six-person sound department on set for those. It was very complex with lots of principal character(s) dialogue, live music, and music playback. I had to bring on an additional mixer to record extra tracks. I didn't even have enough radio mics or enough tracks to record it. I told the other team: "You handle these specific characters and then send me a sub- mix" which I then incorporated into my primary mix where I provided a single mono mix track that had every audio element, including a mono music playback track and a playback timecode track. That was for dailies and for the picture editors. At some point, we were recording about 22-24 tracks of audio, which isn't even that large nowadays. So, for anyone here who wants to be a production mixer, which is probably two of you [laughs], it's about getting it clean and providing good tracks for everyone. RB: Can I jump in to say one important thing? Post-production begins with his microphone. It doesn't start when they turn it over to us; post-production begins on location. [applause] MP: Thank you. This show was—I mean, I've been doing this for a long time—definitely the most challenging show I've ever been on. DB: You're in so many different environments in the show with the stand-up. You're in a club, in a theater, in a TV studio. Were the stand-up mics live? One of the things I noticed a lot in the show is the proximity effect when they're at the microphone and if that's not recorded on that mic on set, then that had to be manufactured in the mix… MP: Yes. How did we do that? Well, first of all, all of the performances were filmed with multiple cameras and a lot of very hard stage lighting that created very hard shadows so booming was almost