Issue link: https://digital.copcomm.com/i/1545202
audio with carefully matched ADR and loop group where necessary. While there was ADR, Alvarez noted, "Buck did an amazing job capturing all the actors' dialogue beautifully that we rarely had ADR required for technical reasons. It was all mostly creative ADR because of performance or rewritten lines." One interesting tool Lindsey mentioned is an ADR "shirt" that George Haddad, supervising sound editor, has actors wear during a session. A lav is placed under the shirt and outside the shirt, with a shotgun completing the trifecta. This technique ensures all perspectives are covered. Alvarez continues, "George recorded a ton of loop group, close-up specifics [on screen background], random call outs [lines coming from off screen], and a ton of walla as if it were a crowded room. In 'The Golden Globes' episode, as soon as Matt exits the limo, the camera movement dictates what we hear. I played with a 'swirling effect' to match the movement. We also did dialogue panning on the principal characters to create a sense of movement. This is the only episode where we employed this technique due to the full [busy] nature of the setting. We tried it in other episodes but found it didn't work as well as it did on the Globes episode." Overall, the episode demonstrates a disciplined mix philosophy: dialogue leads, music supports. That balance reinforces both the comedic nuance and the heightened industry satire, letting the audience stay locked into character interactions while still feeling the scale and spectacle of what the real Golden Globes must be like in person. The re-recording process for episode eight of The Studio is an intricate balance of clarity, energy, and tonal contrast. Fred Howard is the effects re-recording mixer on The Studio. Fred's credits include Outer Banks (current season, mixing now), The Night Agent, and Resident Alien. He came up through the short form world and entered scripted television through sketch comedy with shows like MadTV and Key & Peele. I asked him about how he approaches these various types of projects, "In sketch comedy, sound effects can be big, funny, and cartoony." Fred moved on to single-camera shows like The Middle. He found the vibe of that project needed more finesse. "Those shows feature a soundscape that is more organic and real. You'd never put a sound effect in a modern show like Shrinking that called attention to itself like sketch comedy does. There are moments during the run of The Studio's first season that are not quite 'cartoony' but would definitely be considered 'big.' That's something that's not prevalent in most single-camera sitcoms on television right now." "It's not a traditional single-camera comedy that's based in the same locations doing the same things over and over. Each The production sound crew (L-R): Additional boom operator Cole Bluma, boom operator Nick Allen, production sound mixer Buck Robinson CAS, utility sound technician Rachel Schroeder, and video utility Evan Hare.