Issue link: https://digital.copcomm.com/i/942009
47 Q1 2018 / CINEMONTAGE wouldn't have access. When mixing on an analog console, I prefer to use hardware reverbs; my go-to is the TC M6000 — I love the sound of the unit and surround programs." The final dub-stage delivery for The 15:17 to Paris was 48 kHz/24-bit Pro Tools tracks. "I developed a 5.1-channel orchestral mix, plus a 5.0 piano stem played by the composer, which I spread out for a bigger- sounding mix," he elaborates. "I also had a 5.1 synth pad and a 5.1 atmosphere source cue for a scene in a remote village filled with ethnic music to set up a live ambience. The 0.1 or LFE track gives the cue a powerful cinematic low end." The scoring mixer's association with the director dates from Bronco Billy (1980) and composer Steve Dorff. "For the score to The Bridges of Madison County [1995], my first call came from picture editor Joel Cox, who was working with the director on early ideas for the musical score," he recalls. "Clint is an accomplished pianist. He came onto the scoring stage with a piano facing the screen and worked out ideas that keyboard player Mike Lang then recorded for the score; the three of them were on the stage finalizing Clint's ideas. [Eastwood's longtime collaborator, the late] Composer Lennie Niehaus then added strings" to heighten dramatic scenes. Fernandez received a Primetime Emmy Award nomination in 1993 for Sinatra, together with four Cinema Audio Society Award nominations — including the Eastwood films American Sniper (2014) and Sully (2016) — and 10 MPSE Golden Reel Award nominations. He was also honored with two Grammy Awards in 2005 for his work on Ray Charles' album, Genius Loves Company (2004). Having served as the staff scoring mixer at Warner Bros. Studios before becoming an independent