How do you split up the mix?
Did you mix this in 5.1 or 7.1?
What console do you mix on?
KR: I do dialogue and music and
Scott does the sound effects. This
mix on an Avid ICON D-Control.
Mix-wise, what was the direc-
tion for Episode 10, “The Bicam-
KR: A lot of the story is revealed in
Episode 10, so up to that point we
had been mixing the series in a fashion that was not about revealing any
of the story elements until they revealed themselves. Episode 10 was
elements came out.
SW: There wasn’t any new direction
for Episode 10. We had been establishing the series as we were mixing along. I would say we spent the
most time mixing Episode 1, establishing the locations through the at-mospheres;and;the;sound;effects.;By
established that Westworld sounds
very organic, with a lot of natural-sounding ambiences and mechanical elements, a lot of horses. That’s
in stark contrast to what goes on in
the lab where we are very high tech
and modern. It’s a good culmination
of all of those things. They all come
to a climax in Episode 10.
In Episode 10, you have a cross-over of the west into the real
world. Instead of people going
into the park to wreak havoc on
the robots, you have the robots
coming into the lab to wreak
havoc on the humans.
KR: The trick to some of the sound
design and the way that we mix the
show was when the robots are in
the park atmosphere, in Westworld,
they appear mainly as humans. That
was the trick of Westworld, that the
guests don’t know that the robots, or
‘hosts,’ are actually robots. They appear and act just like humans.
When the robots are brought
into the lab area, for programming
Re-recording mixer Keith Rogers
Maeve Millay (Thandie Newton) and Bernard Lowe (Jeffrey Wright) in the lab
Re-recording mixer Scott Weber