We started digging in to exactly how MC handles 5.1 sequences, what pitfalls there might be between systems that had a 5.1 speaker setup and ones that had only stereo, and after that was all figured out we started building a 5.1 edit suite at Bad Robot. When Media Composer v6 came out and we saw that we could do a surround sound mix inside MC for the first time, Ben decided to go ahead with this experiment. Abrams had mentioned to his Post Supervisor, Ben Rosenblatt, that he wished he could have better sound while editing, and a "temp dub as you go." He wanted to be able to screen the rough cut with no notice, allowing him to edit right up until it was time to show it, instead of having to lock a version of the cut a week in advance in order to do a temp sound edit and mix in ProTools.
On Star Trek Into Darkness, we wanted to try something new for our sound workflow, and that was to keep a running 5.1 mix in the editors' reels throughout the entire editorial process.
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