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RH Factor Inc. Burbank, California CSI, My Name is Earl, Boston Legal ©2009 Euphonix, Inc. All Rights Reserved. Now, Hear This! duction team. The importance is evident during the picture editing and even on the set where the actors are recorded.“During the shoot, they record all the dialogue on two tracks on Sound Devices’ 744T and 16 individual tracks on Zaxcom’s Deva,” ex- plains Cook.“The 744T’s audio gets loaded into the Avid Nitris DX, synced with time- code. While they are cutting the picture, they are using the two-track audio mix of the dialogue most of the time.When they need to use dialogue from the separate mics, they will go to the 16 tracks of the Deva for the specific line or lines.The edi- tors are not using all 16 tracks of the Deva all the time.They only go to the Deva when they need to find a particular take.” On some of his other shows, they do a full assembly with the individual tracks from the Deva.“But on Parks and Rec,” says Cook,“the editors tend to find the stuff that they need in picture edit on the Avid with just the two- track.They make it sound as best as they can right there in the picture edit. During the pic- ture edit, the producers like to hear what it is going to sound like in the final mix as close as possible. So with that kind of focus, produc- tion sound mixer Steve Morantz has an ex- tremely important role. He does a great job going that extra mile on the set. In addition, Bobby Maxton does a two-day dialogue edit, so a lot of time and attention is given to the dialogue.” Cook and Nusbaum use Pro Tools|HD and do much of the audio processing using the Harri- son SeriesTwelve digital console itself. “I not a big Cedar guy, or any kind of broad noise reduc- tion for that matter,” says Cook.“I would rather get in there surgi- cally and use the EQs on the Harrison SeriesTwelve. I can use up to 24 notch filters on dia- logue at times because I can still keep the ‘chesty-ness’ of the dia- logue.The notches are razor sharp, so to speak, so I can really be more exacting with the Harrison EQs.” “Even for reverb,we prefer the 960 Lexi- con reverbs over plug-ins,” adds Nusbaum. “And for the 5.1 mix,we use three-way JBLs. For final play back we listen on B+W CM1s that we are very happy with.” For metering, they use the LKFS standard, Think box outside THE The System 5-MC with EuCon™ control protocol perfectly integrates with any DAW making it the ideal controller for TV audio post production. In today’s fast-paced production environments only Euphonix can provide true hands-on control over your favorite applications. Visit Euphonix in the NAB Video Hall, Booth SL2813 www.postmagazine.com euphonix.com April 2010 • Post 37 which is sort of a dialogue norm, according to Cook.“That helps us be on par with the lev- els for the commercials, as well as to get our dialogue to sit at a consistent level.The LKFS spec is between -24 and -26.We are mixing in 5.1 and delivering in 5.1, so the cable boxes at home are folding down for the stereo mix. So, we listen to our mixes folded down through the Harrison to simulate that.” Smart Post Sound’s Dean Okrand uses Pro Tools|HD 8 while working on ABC’s Modern Family. of