Issue link: https://digital.copcomm.com/i/908245
C A S Q U A R T E R L Y F A L L 2 0 1 7 47 Cormac and music editor Adrian Van Velsen, along with supervising editor Mike Marchain and his guys, laid solid groundwork for the mix stage after the show was locked. Dialogue and effects came to the stage as one delivery, and then the singing all came with the music delivery from Adrian and Cormac. CB: After the episode was shot, edited, and picture-locked, I received a bunch of production sound for the episode and went to work comping together the production vocals (again with Logic and Melodyne). Some of the audio was a little more difficult to work with because of sound on a location. I'd use Adobe Audition to pull background noise out of a few things to give me a little more latitude to manipulate the vocals. Also, now that I had a cut of the episode, I had to go back and re-comp some of the studio vocals so they would work with the on-camera performances. I would use the region's amplitude as a guide in adjusting the timing of the studio vocals to match. Once I had completed the production and studio vocal passes for picture, I bounced everything out for the mixing stage. Ultimately, the decision of whether we were going to use the sound from studio or production was not going to be mine, and I wanted the mixers and RCG to have as many options available to them as possible when they did the final mix. Once I bounced out those passes, I created a third pass of my "suggestions." I really wanted to use as much production sound as possible. I believe that our using production sound for our musicals sets Sunny apart from other shows with musical elements. This is something we've done with all our episodes with musical elements, like "Nightman Cometh" and "Frank's Little Beauties." Our cast is very talented and the crew is always able to capture those performances seamlessly, so why wouldn't we use the live performances? My "Suggestion" pass is essentially the live production pass peppered with studio