Issue link: https://digital.copcomm.com/i/1538091
C I N E M A A U D I O S O C I E T Y. O R G 37 this plugin worked. Having an editor's perspective, he also realized that this plugin could run natively in Avid, which is what our picture editors were using. Having access to Hush would mean that our picture editors could reduce the camera noise, and any other offending noises for that matter, as part of their process. This transformed their workflow by eliminating the need for time-intensive syllable-level surgery. That more detailed attention could be saved until later for our dialogue editor, David Butler. In the end, David told me that many of the wild sound takes held up throughout and were extremely helpful. But most impressively, the post team was able to use production audio for the vast majority of the film. This was in large part due to our persistence in getting the best signal-to- noise ratio with every available microphone we were using. My crew would boom every on-camera and off-camera line of dialogue as tightly as possible and would manipulate the lavaliere mic placement shot by shot to get the cleanest and best recordings for the entirety of this shoot, despite whether it was shot with the IMAX camera or the System 65. As a result, less than 5% of the dialogue track in Sinners was ADR due to technical limitations. That's a massive win! Additionally, the use of Hush by the picture editors sped up the picture editing workflow and allowed them to cut together scenes for Ryan Coogler to review, sometimes as quickly as after camera wrap each day. This would prove to be a game changer for the editorial department. They could spend more time exploring editorial choices that Ryan could then use to inform his decisions on set rather than getting hung up on the An example of dialogue recorded while the IMAX camera is rolling. The same dialogue recording after processing. technical editing of sound. It also allowed them to focus on the emotional performances rather than having to postpone that to a later time after dialogue cleanup or ADR could be done. This workflow discovery also opened opportunities for test screening different versions of the working edit much more efficiently while under a tight post-production schedule. This realization did not change our strategy within the production sound department all that much. We continued