Issue link: https://digital.copcomm.com/i/757053
the airline mix, etc. We pre-dubbed for about a month and then did the final mix for about a month as well. It didn't seem like enough time, but we got it done. The show was just so busy, with lots of visual effects being updated continu- ously. Mixing with director Sam Raimi and Oscar-winning picture editor Bob Murawski was fun. They are just the greatest people to work with. You've had the opportunity to work with Sam Raimi quite a bit. Yes, it started on Drag Me to Hell, and we have had the opportunity to work with him at The Dub Stage a lot since then, whether he's directing or producing. We mixed Poltergeist (2015), The Possession, Oz the Great and Powerful, and the TV pilot of Ash vs Evil Dead for Starz Network last year. How do you approach your mixes? I like to start with a pre-dubbed dia- logue track to mix against if possible. I really prefer that to a scratch dialog guide out of the Avid, because the levels can be all over the place. I start with getting a general level and panning out my backgrounds and will leave more intricate details for the final. Then, I like to move on to Foley, before going into hard effects and sound design, because I want to focus on making the Foley blend into the production so it sounds like the same track basically. With Foley, you get a wide range of stuff. Sometimes it's awesome and sometimes not, but it always needs a little bit of something. I actually have more inserts on my Foley tracks than anything else. I like to start with an expander to pull out some of the noise and then a transient designer to try to reduce some of the attack, mostly on footsteps but not so much on props. I feel that it lets more of the body of the sound come through while keeping the transients under control. I'll even use a de-esser on steps to control the scuffs —I find the scuffs seem to cut through everything else. I also use EQ and com- pression on every track in my session and have multiple reverbs for every food