Issue link: https://digital.copcomm.com/i/370852
40 CINEMONTAGE / SEP-OCT 14 or BGs before the pre-dub," he says. "It is simple to use and flexible. For mix plug-ins, I look at sonic advantages, transparency, High-Q for notching — DMG's Equality is great — and more control. I always use Avid Pro Tools HD, with an ICON D-Series surface and/or System 5 consoles with EuCon." Regarding the Commercial Advertisement Loudness Mitigation (CALM) Act mandating FCC control of television loudness levels and different delivery requirements, Brennan says, "I'd love to see a meter that could analyze the current TV or the entire show, and indicate to which time code setting the level needs to be brought up or down in order to achieve the desired target of -24 LKFS/LUFS." TV re-recording mixer Bob Bronow, CAS (Deadliest Catch, Ax Men, The Wrecking Crew), lists iZotope RX3 Advanced, iZotope Ozone 5 Advanced, Audio Ease Speakerphone, Waves WLM Loudness Meter and Avid EQ III plug-ins for both editorial and re-recording, using Pro Tools with Avid D-Command and Artist Series control surfaces. "It's all about what the plug- in can do for me, and how quickly it can do it," Bronow states. "All of these plug-ins solve specific problems very well, and are very fast. I need tools to help me deal with less-than-perfect audio. Plug-ins like RX3 Advanced let me do things I can't do with other products. I particularly like the iZotope GUIs; they have a clean top layer allowing me to do the most important things quickly. Then I can get under the hood if I need to fine-tune settings. iZotope and Avid EQs are transparent and don't impart any particular sound." Bronow would also like to see more products like iZotope's Realtime Dialogue DeNoiser. "I want repair plug-ins to look at the audio, see what's wrong and then fix it," he suggests. "Or at least have a dialogue box pop up telling me it has detected a problem and then present a solution." Acknowledging that he has only recently begun using plug-ins on a regular basis on Avid Euphonix System 5 control surfaces, film/TV re- recording mixer Tom Fleischman, CAS (The Wolf of Wall Street, Men in Black 3, Boardwalk Empire), at Soundtrack F/T likes the FabFilter De-esser ("The best de-esser I have used recently; I've moved completely away from analog de-essers"), the McDSP NS575 Noise Filter ("a very clean filter capable of up to five notches; I find it to be almost completely transparent and it makes isolating the noise very easy"), and iZotope RX3 ("which works effectively for noise suppression"). "Because it can be time-consuming when used properly — and it needs to be used properly — RX3 is normally used offline by the sound editors," Fleischman says. "Stage time is expensive so, if I come across something that might benefit from treatment, I'll usually ask the editor to do it offline and update my mix after the track has been properly treated." He reports that he mixes outside the box running multiple Pro Tools rigs into the System 5 console and records stems on a stand-alone Pro Tools system. Re-recording mixer Paul Massey, CAS (The Amazing Spider-Man 2, The Monuments Men, The Lone Ranger), working at his Signal Sound facility and also on Sony Pictures Studios' Cary Grant Stage, prefers to use digital Audio Ease Altiverb Plug-In.