CHACE POSTS AUDIO FOR 'NEXT DAY AIR'
The mix took place in Chace's recently remodeled THX-certified dub stage, the Rick Chace Theatre, which features a Harrison Series Twelve mixing console. Director Benny Boom had two very specific directions for the mix: he wanted it to sound realistic, and he wanted the music to be full and dynamic. In order to incorporate as much production dialogue as possible, dialogue re-recording mixer James Young turned to several repair tools, including Cube-Tec's AC-5 workstations, which allowed him to salvage most of the original material to minimize the use of ADR.
Foley artist Monique Reymond, working with Foley recordist Tom Balazs at Chace's 600-square foot Foley stage, focused on authenticity over exaggeration. Reymond's creative work is especially apparent in the gruesome sounds she crafted for a scene where a miscommunication leads to one of the main characters cutting out another man's tongue. To make this effect, a number of different sounds were recorded and combined, including French bread being ripped, the metallic slash of a machete, and the squeezing of a wet chamois to add a grisly squish.
Sound editor Michael Ferdie researched and recorded effects that accurately represent each weapon featured in the film. On the dub stage, re-recording mixer and sound supervisor Chris Reynolds made sure that all of the Foley and effects blended together to dynamically fill out the spatial environments on-screen.
Additional Chace credits included dialogue editor Tom Harris and ADR mixer Nick Beljic.