This could be your view at your next mix, except with Tor & Kat in the seats instead of having them empty. And with your movie up on the screen instead of 2 Years 8 Days.
Yeah, that’s right, we now have a dedicated computer for each of our re-recording mixers. We had the idea one day when we were moving the ADR stage from I-25 Studios to Albuquerque Studios for a session out there. The whole ADR rig became portable at the beginning of the most recent season of The Night Shift and we’ve gotten to the point where we can wrap an actor at one location and two hours later be recording an actor across town at the other location. If we could do that, sure we could move the ADR rig on to the mix stage for a two-mixer setup. Right? To quote Apocalypse Now, “absolutely god damned right” we can. The first time it took about 2 hours, and that included a lot of troubleshooting, so we’ll probably have that time down to about an hour pretty soon.
Do you have someone on your gift list who is a filmmaker or musician, or aspires to either? We can hook you up with a gift certificate and we’ll give you a discount. Don’t let geography get in the way, either, we’ve worked with people literally all around the world. Call 505-293-3305 or email info[at]hearkitty[dot]com.
We’ve known David Leach in passing for years, but this is the first project we had the pleasure of working with him and he most assuredly deserves this award. Dyanna Taylor also deserves every bit of attention this film is getting. It is one of those projects we finished some time ago, but which comes back frequently, including some catch-phrases that seem to have permanently entered our work lexicon. If you haven’t seen it yet, you really should, and if you ever have an opportunity to work with David or Dyanna, take it. Or if you’re in the audio post business, tell them they should call us again. 😉
This mix is so much fun. We’re really looking forward to everyone seeing and hearing it all in context, but in the meantime, here’s a little taste of Kat auditioning sounds: CAM02181.3gp
I don’t think we can say enough how much we are loving working with the incomparable Ralph Bakshi, his son Eddie, and the whole team on Last Days of Coney Island.
Don’t get me wrong, we are not considering ditching digital audio workstations, far from it, but this piece from NPR reminded me why I’m proud to approach digital audio from an analog mindset. When it comes down to it, our minds are analog (and our hearts and souls definitely are, but that’s another story), so the more you can do to bridge that gap between you and digital technology, the better. For me, it’s control surfaces, and the more they resemble an old school, in-line console, the better.
There are a lot of possible explanations for keeping the mix stage dark during the final mix, but the real reason is to hide all the clutter that’s built up on the console during premixes.
We’re delighted to start work on a new feature documentary, Beats 4 Tanner. It’s a very heartwarming and at times heartwrenching story and our absolute pleasure to be part of bringing it to a screen near you. http://t.co/J2bK2BZMTn
Yeah, that’s right, we now have a dedicated computer for each of our re-recording mixers. We had the idea one day when we were moving the ADR stage from I-25 Studios to Albuquerque Studios for a session out there. The whole ADR rig became portable at the beginning of the most recent season of The Night Shift and we’ve gotten to the point where we can wrap an actor at one location and two hours later be recording an actor across town at the other location. If we could do that, sure we could move the ADR rig on to the mix stage for a two-mixer setup. Right? To quote Apocalypse Now, “absolutely god damned right” we can. The first time it took about 2 hours, and that included a lot of troubleshooting, so we’ll probably have that time down to about an hour pretty soon.
