CRAFT AUDIO
PRODUCTION/POST
DOUG COOPER
Re-recording mixer, Warner Bros De Lane Lea
CREDITS Black Mirror: Bandersnatch, House of the Dragon, The Wheel of Time, Brave New World
From the mixing process perspective, the starting point is predominantly the production sound recordings. In terms of direction, it’s about talking to the director/show runner/picture editor as to what creative choices they intend to make, what they have specific ideas about and what they need to work on. Listening to the guide tracks that they’ve created is incredibly important, as is being able to distinguish between what’s intentional and what’s not. What you’re looking at isn’t necessarily what the sound should focus on and it’s important to know when that’s the case.
I’ll attend spotting sessions if I can, though they’re mainly for the benefit of the sound editorial team. It helps me get into the feel of the show, meet the main creatives and get a head start on understanding what they’re looking for. Sometimes I’ll be asked to assess production recordings to try to avoid any issues further down the line and advise on how much ADR might be needed. My only bit of advice to people before a shoot begins would be to give the production mixer as much time, space and respect as possible. They set the tone
for the whole show, so it’s worth giving them a chance to do their jobs properly. The best brief is a well-prepared guide track. But discussions ahead of the mix are really helpful, although they’re more about establishing communication and understanding the kind of language they use to describe what they’re listening for.
To prepare beforehand I’ll do some research on the source of the project, for example reading the book it’s based on. I’ll also research what the director has done before and watch some of their work and see if I can find out what they’re like to work with. I’ll always watch the show before starting work on the guide track. I find it’s best to get inside the heads of the creative team on any project, something that’s not always so clear once it’s been tracklayed and scored.
I love mixing in Atmos. It allows you to be more specific when describing dynamic moves off-screen, especially overhead. You can also create a more vivid sense of place, whether outside or in larger interior spaces. We mix in Atmos and then check the 5.1 surround sound and stereo re-renders from there. The use
of objects needs a bit of thought ahead of the mix. We decide what would benefit from more precise panning and what can stay in the 7.1.2 beds.
How you mix depends on what a scene, act or episode needs but I try to aim for clarity and precision. I’d love to be more agile sometimes in switching between loud and busy sections and quieter, calm moments. I’m working on that. I appreciate it when scenes feel effortless, when I don’t notice transitions within a scene, where focus gets drawn into conversations or events. Expectations for quality and detail are increasing all the time. I’d love it if that translated into more attention being paid to the needs of production sound mixers.
As a re-recording mixer, it’s important to be able to work under scrutiny. It took me a while to feel relaxed mixing with lots of people in the room listening to what I’m doing. It helps being confident with your tools and having your workspace set up as you like it. Good communication skills are important, also having an opinion and knowing when - or not - to share it.
Autumn 2022
televisual.com 57
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