Issue link: https://digital.copcomm.com/i/1545202
Bob used all the tricks currently available to make sure the wide array of music tracks and production sources matched. "The iZotope RX EQ Match is a great tool. It gets tricky doing music documentaries. The tricky part is riding the music and getting to a point where you don't lose it too much under the dialogue, where people forget that it's there. Or if the music's too loud under the dialogue, people listen to the music and don't listen to the dialogue. You have to find that happy medium where it's still there, it's driving the scene and you have your chances to shine." Bob appreciated how every part of the filmmaking crew cooperated on the project. "The executive producer, Steve Cohen, has worked with Billy Joel for 40 years, he's his lighting director and is Billy's right-hand man, so he was responsible on the stage. He was from Billy's camp, so he was always there for playbacks. And of course, we had the producers, Susan Lacy and Jessica Levin, from Pentimento." On the technical side, Bob noted, "Sometimes you had to stretch music so the tempo would be the same so that when it went from one song to another, it would be in the [same] tempo. But sometimes we were locked in because they'd cut picture to it and if they cut picture to a certain thing, we couldn't change the tempo too much. However, we might be able to suggest, 'Can we get an extra frame on this, or can we move a frame here?' And we found that where we had to make an adjustment, they were able to make a picture adjustment." Bob gives a big shout-out to all his fellow mixers and the editorial crew that were able to deliver all the elements he needed to evocatively tell the documentary's story. Billy Joel: And So It Goes wove the work of all these creative sound, production, and post-production minds into a wonderfully engaging summary of a truly amazing musical talent. Brian Ruggles David Mitlyng Mark Mandler CAS and Billy Joel