Category Archives: Netflix

Apache colorists: Cullen Kelly added, Quinn Alvarez promoted

Santa Monica color and post studio Apache has added colorist Cullen Kelly. In addition to Kelly’s hire, the studio also promoted colorist Quinn Alvarez from an assistant’s role.

Kelly joins from Labrador Post, a color grading studio he founded in Austin, Texas. He has relocated to Southern California. Alvarez has been with Apache since 2015, joining from the production company Prettybird, where he handled all post duties and worked closely with its directors and producers.

“We’re currently working on several scripted and documentary shows for Hulu, Netflix and Amazon, in addition to our commercial work for agencies,” says Apache managing partner LaRue Anderson. “We needed additional artists that come with a unique perspective to color grading to handle these assignments, not just helping hands.”

Kelly worked with Apache earlier this year as a freelancer, doing finishing for the debut season of Netflix’s American Vandal series. Kelly, who studied film at the Art Center College of Design in Pasadena before launching his career, worked in several post jobs before focusing on color grading. In addition to his work on the Netflix series, his reel includes short films and promos for The History Channel, FX Networks and SXSW.

When asked what drew him to color grading, Kelly said, “I’m a very visual person, and I love the amount of detail and energy that goes into color work. And it’s so collaborative; you’re working with people and helping bring their vision to life.”

A graduate of UC Berkeley, Alvarez says that while working at Prettybird he learned the craft of color grading from a director’s point of view, stressing the importance of story and substance. “I like the pace of color work, too,” he adds. “There’s always a new challenge, and new clients to work with. It keeps me fresh. And color is typically one of the final stages in a project — you’re putting the polish on things, so to speak, so people always leave happy.”

His reel includes work for such brands as Nike, Absolut, Jack Daniels, Tumi, Toyota, Lexus and Mercedes-Benz, as well as music videos shot by such directors as Paul Hunter, Eric Wareheim and Andy Hines.

Both Kelly and Alvarez use Blackmagic Resolve.

Apache’s branching out from just color to handling finishing is also driving its need to add more creative talent, reports Anderson: “Keeping the color and finish under the same roof, particularly for long-form projects, allows us to swiftly complete a show. That adds valuable time to our clients’ often-constrained post schedules, without compromising the look and feel of the film. And we’re finding that cinematographers and directors are moving to original series work, because it can offer more creative freedom. With the addition of Cullen and the promotion of Quinn, we now have five colorists to help transform their digital visions into reality.”

Harbor’s Bobby Johanson discusses ADR for TV and film

By Jennifer Walden

A lot of work comes in and out of the ADR department at New York City’s Harbor Picture Company. A lot.

Over the past year alone, ADR mixer Bobby Johanson has been cranking out ADR and loop group for films such as Beauty and the Beast, The Light Between Oceans, Patriots Day, The Girl on the Train, Triple 9, Hail, Caesar! and more.

His expertise goes beyond film though. Johanson also does ADR for series, for shows like Amazon’s Red Oaks and their upcoming series The Marvelous Mrs. Maisel, and Netflix’s Master of None, which we will touch on lightly in a bit. First, let’s talk the art of ADR.

According to Johanson, “Last week, I did full days on three different films. Some weeks we record full days, nights and weekends, depending on the season, film festivals, what’s in post, actor availability and everything else that goes on with scheduling. Some sessions will book for two hours out of a day, while another client will want eight hours because of actor availability.”

With so many projects passing through his studio, efficiency is essential, but not at the cost of a job well done. “You have an actor on the stage and the director in the room, and you have to make things efficient,” says Johanson. “You have to play lines back as they are going to be in the show. You want to play the line and hear, ‘Was that ADR?’ Instantly, it’s a whole new world. People have been burned by not so good ADR in the past, and I feel like that compromises the performance. It’s very important for the talent to feel like they’re in good hands, so they forget about the technical side and just focus on their acting.”

Johanson got his start in ADR at New York’s Sound One facility, first as a messenger running reels around, and then moving up to the machine room when there was an opening for Sound One’s new ADR stage. “We didn’t really have anyone teaching us. The job was shown to us once; then we just had to figure out how to thread the dubbers and the projector. Once we got those hung, we would sit in the ADR studio and watch. I picked up a lot of my skills old-school. I’ve learned to incorporate those techniques into current technology and that works well for us.”

Tools
Gear-wise, one staple of his ADR career has been the Soundmaster ADR control system. Johanson calls it an “old-school tool,” probably 25 years old at this point, but he hasn’t found anything faster for recording ADR. “I used it at Sound One, and I used it at Digital Cinema, and now I use it here at Harbor. Until someone can invent another ADR synchronizer, this is the best for me.”

Johanson integrates the Soundmaster system with Avid Pro Tools 12 and works as a two-man team with ADR recordist Mike Rivera. “You can’t beat the efficiency and the attention to detail that you can get with the two-man team.”

Rivera tags the takes and makes minor edits while Johanson focuses on the director and the talent. “Because we are working on a synchronizer, the ADR recordist can do things that you couldn’t do if you were just shooting straight to Pro Tools,” explains Johanson. “We can actually edit on the fly and instantly playback the line in sync. I have the time to get the reverb on it and sweeten it. I can mix the line in because I’m not cutting it or pulling it into the track. That is being done while the system is moving on the pre-roll for a playback.”

For reverb, Johanson chooses an outboard Lexicon PCM80. This puts the controls easily within reach, and he can quickly add or change the reverb on the fly, helping the clean ADR line to sync into the scene. “The reverb unit is pretty old, but it is single-handedly the easiest reverb unit that you can use. There are four room sizes, and then you can adjust the delay of the reverb four times. I have been using this reverb for so many years now that I can match any reverb from any movie or TV show because I know this unit so well.”

Another key piece of gear in his set-up is an outboard Eventide H3000 SE sampler, which Johanson uses to sample the dialogue line they need to replace and play it back over and over for the actor to re-perform. “We offer a variety of ways to do ADR, like using beeps and having the actor perform to picture, but many actors prefer an older method that goes back to ‘looping.’ Back in the day, you would just run a line over and over again and the actor would emulate it. Then we put the select take of that line to picture. It’s a method that 60 percent of our actors who come in here love to do, and I can do that using the sampler.”

He also uses the sampler for playback. By sampling background noise from the scene, he can play that under the ADR line during playback and it helps the ADR to sit in the scene. “I keep the sampler and reverb as outboard gear because I can control them quickly. I’m doing things freestyle and we don’t have to stop the session. We don’t have to stop the system and wait for a playback or wait to do a record pass. Because we are a two-man operation, I can focus on these pieces of gear while Mike is tagging the takes with their cue numbers and managing them in the Pro Tools session for delivery. I can’t find an easier or quicker way to do what I do.”

While Johanson’s set-up may lack the luster of newly minted audio tools, it’s hard to argue with results. It’s not a case of “if it’s not broke then don’t fix it,” but rather a case of “don’t mess with perfection.”

Master of None
The set-up served them well while recording ADR and loop group for Netflix’s Emmy-winning comedy series Master of None. “Kudos to production sound mixer Michael Barosky because there wasn’t too much dialogue that we needed to replace with ADR for Season 2,” says Johanson. “But we did do a lot of loop group — sweetening backgrounds and walla, and things like that.”

For the Italian episodes, they brought in bilingual actors to record Italian language loop group. One scene that stood out for Johanson was the wedding scene in Italy, where the guests start jumping into the swimming pool. “We have a nice-sized ADR stage and so that frees us up to do a lot of movement. We were directing the actors to jump in front of the mic and run by the mic, to give us the effect of people jumping into the pool. That worked quite nicely in the track.”

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