dard TV series, background-wise, because we're trying to place wherever we are in Hawaii. So there are lots of background el- ements to pace us, at the beach, the bad part of Honolulu, etc., and we have a lot of car chases, a lot of action sequences that are bigger than it would be on your standard TV show.As far as a mixer goes, we're doing a lot of detail.” This theatrical detail is en-
abled by the ICON control sur- face from Avid.“That work sur- face enables us to create what we can in the time that's allot- ted,” he says.“I’m able to do a lot of detail work on the ICON.This particular mixing stage [at Warner — www.wbpostpro- duction.warnerbros.com] is unique because you can choose what surface you want to be on. You can be on the Neve or you can be on the ICON.
“It was designed that way a
few years ago by Warners to be a combination room — if you're a traditional mixer that likes Neves, you can have that, if you like the ICON you can have that.That is so cool, and no one else has that. If I wanted to do dialogue on the Neve and do ef- fects on the ICON, I can do it. We have a lot of tough produc- tion dialogue; the whole show is on location — there's no soundstage — and the ICON allows us to do detailed dialogue clean-up as well as feature-style work in the time we have for a TV show.” The time restraints of televi-
sion, however, especially on a theatrical sounding show like Hawaii Five-0, can cause habitual frustrations. D'Addario, like most sound mixers, wishes there was simply more time. “We just have a tremen-
dously short turnaround, and that makes it especially challeng- ing,” he says.“We recently had a situation where they finished shooting on a Saturday and we aired on a Sunday.We had two days to prep the sound, a one-
continued on page 50 www.postmagazine.com April 2011 • Post 31
