Issue link: https://digital.copcomm.com/i/1545202
was coming from set, using RX to pull things out, but it just became too much, and we abandoned that approach to focus on getting the dialogue crystal clear, then rebuilding the rest. Simon: You mentioned the panning there, and that's the other place where ADR came into play. There were occasions where they wanted to move it off screen and that was interesting for us come ADR session one because we had to do live panning in the playbacks to present it properly! Wow, I had not thought of that! Speaking of panning, where did you draw the line in terms of what felt over panned because I can assume that could get out of hand quite fast. Did you come up with ground rules on how that would work? Jules: Yeah, we did! James: Because we did a first pass on it and then we brought it into the stage for a spotting session and we were able to listen to it properly in Atmos, and we realized that some of it was too much. Too distracting? Jules: What was important for us to keep in mind was that the majority of people were going to watch it on Netflix—kind of half through TV speakers and half on headphones. So, we had many different chains to monitor from. Obviously, we were full Atmos on the stage, but we were constantly referencing on TV to make sure intelligibility was there, as well as listening to the pans. We did our own headphone passes, as well. When we would feel something going too far, we'd rein it in. It was always a little bit of compromise between those formats. That's really the main thing. Is it adding to the immersive nature of the show or is it distracting? Any other insights you'd like to share? Simon: Something else we really noticed in the ADR was the actors were coming in with a slightly different mindset. I think that comes from what was happening on set. Because of the way it was shot and doing the whole thing twice a day for a week or so, they were coming in remembering everything, and it was great for ADR! Because what they shot for the day is what they were seeing in the final edits. They didn't have to react to something that has changed since it was shot. It was very helpful to get them back into that moment. Yeah, it's a situation where the script is so thought out and agreed upon that you as an actor are not having to reinvent the emotional head space every time you need a line replaced. James: This project has been an incredible experience. Learning so much, being able to push the craft to such a degree, and collaborating with everyone here has been a joy, and I do miss it. Jules: Yeah! James: And when we finished, I think we all had that moment of going, "We want to do it again!" It's been really challenging, but if somebody said, "Here's the script for Season Two, we're going to start on Monday," everyone would say, "OK, great! See you there!" Kiff: I have never worked with such a collaborative group in post. If there is one major takeaway, it's that this works. This approach should be happening more often. It should not be just because it's a one-shot format show. It would help every production. I couldn't agree more! Thank you and congratulations on your CAS Award win! The Location crew. Clockwise from back left: Production sound mixers Rob Entwistle and Kiff McManus; 1AS (boom ops) Kyle Pickford, Ash Sinani, and Tom Pallant; 3AS Hannah Bracegirdle; 2AS (utilities) Joanna Barcik and Chi Limpiroj Adam Mendez