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 71 RB: It really allowed me to use the boom! A lot of times in the early seasons, I would just be stuck. I'd have this nice, rich texture that was recorded, but there were phase issues and cancellation going on, and you just couldn't really fix it quickly. Auto-Align changed all that. DB: So, with the directive of no ADR Ruth … why are you here? [laughs] Kidding of course. Did you cue the ADR? What was that process like? RH: Well, we had a spotting session. Ron attended. Annette attended. The showrunners attended and this was where we got the feel of what they wanted for specific scenes. And yes, they didn't want to replace production, but they did want to add a lot of stuff. A lot of stuff. Every second had to be filled with something, right? I mean, they were really adamant about if they had just a split second of silence, somebody had to say something offscreen. So, most of the main ADR for principles was adds. Sometimes they would want a change in performance, but very few. The majority of ADR was group. All the scenes with the audience, the laughter, we didn't use canned laughter. So, every scene we would record and they would direct, a big laugh here, a little laugh here. It was very specific to each scene, to each episode. DB: Wow! So, all the laughter and crowd builds were group?! Ruth Hernandez (ADR editor): Yes! All the laughter was group. All the laughter, all the dialogue/shout- outs, the background walla, was all added. That's all group. Everything's been added. That's all constructed. DB: Oh, my gosh. That is an enormous load of work. That is tracks and tracks and tracks. How many people did you have in your group? RH: It would range from 12 to 20. They were really good about the big scenes. RB: But the season, this season was still during COVID, wasn't it? RH: Yes. So we, like everybody, were separated. I mean, we did have a group, but they weren't all in the same room at the same time. That was rough. So, the ADR mixer, which for the remote group sessions was J.J. Suelto, would have all these different mics that he would provide me, which was different. Normally, I'd just have two booms but during COVID we would have, if we had 20 people, we'd get 20 mics. He would also provide me with a mix of the 20. DB: Alright, since I have you here and we just watched the episode, was there any principal ADR? If so, where was it? Because I have no idea where it was. RH: There was, yeah, but it's mixed beautifully. There's very little, but like the scene where Susie is running, calling "Mike! Mike! Mike! Mike!" We had to add a few "Mike's. There were a few other lines here and there, but they don't stick out. DB: Allan, tell me about the sound effects for The Marvelous Mrs. Maisel. Allan Zaleski (SFX editor): When we got an episode in, I would usually start with backgrounds. I'd do a pass of BG's first so I can kind of get a feel of the episode. When I came onto the show, it was after the second season, so a lot of scenes and locations had been established. At first for me, it was a lot of copy and Ron Boucher, supervising sound editor, and David Barber, MPSE President.