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the official quarterly of the cinema audio society

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FEATURES 45th Annual CAS Awards Recap . . . . . . . . . . . . 10 “Meet the Winners” . . . . . . . . . . . . . . . . . . . . . 20 A global Q&A forum

Got Insurance? . . . . . . . . . . . . . . . . . . . . . . . . . 24 Tips for protecting yourself

Baffling Sound . . . . . . . . . . . . . . . . . . . . . . . . . . 26 The quieter the better



DEPARTMENTS President’s Letter . . . . . . . . . . . . . . . . . . . . . . . . 4 Expanding our professional experiences

From the Editors . . . . . . . . . . . . . . . . . . . . . . . . . 6 Technically Speaking . . . . . . . . . . . . . . . . . . . . . . 8 All about AM signal processing

Been There Done That . . . . . . . . . . . . . . . . . . . . 28 CAS members check in


The Lighter Side . . . . . . . . . . . . . . . . . . . . . . . . 38





In 1964, when a group of sound mixers got together and formalized the organization we know as the Cinema Audio Society, it was not out of necessity, it was a choice. A choice made to come together for the purpose of camaraderie and to disseminate information to the entire industry in which we work. To utilize a favorite movie line of mine: “If you build it, they will come.” Now, 45 years later, we have grown to more than 600 members. We are vibrant and continue to develop. We are now proud to have many members and associates in our ranks that expand our range of professional experiences. This is what your Cinema Audio Society continues to promote with our informational meetings and seminars and our expanding student membership. Our founding members built it and they continue to come! As members of the CAS we have chosen to be “Dedicated to the Advancement of Sound.” This is what we have all decided to follow as we have earned our membership in the CAS. The volunteer status of the leadership of the CAS is an example of the dedication that has made this organization so outstanding. I want to take this opportunity to thank the members of the Board of Directors who have served for many years who are not returning at this time to the current Board. To Sherry Klein, CAS, James Coburn, CAS and former President Melissa Hofmann, CAS—as she joins the other active former presidents—we say thank you and we look forward to your continued support. To the newly elected Board of Directors, all of whom are listed in the masthead, we say welcome! To the returning members of the Board, we say welcome back! The CAS is deeply grateful to all of our sponsors and supporters who helped us put our best foot forward during the 45th Annual CAS Awards on February 14 in the Crystal Ballroom of the Millennium Biltmore Hotel in Los Angeles. I am proud and very honored to be able to continue to serve as President of the CAS. I look forward to celebrating with everyone at the 46th Annual CAS Awards on February 27, 2010, once again, in the fabulous Crystal Ballroom. This is a very exciting time in our industry as the technologies we employ in our daily endeavors from original recording to post to delivery continue to change at an ever-increasing rate. We have all had to continue our ride on the education racetrack to maintain our status within the working community. The CAS provides an avenue for industry networking and we can all benefit from the sharing of information. Sometimes everything seems to be moving so fast. Please do not miss the opportunity to stop for a moment and share while you can, as it will prove to be very rewarding. Thank you for all of your active support and continued participation. Regards,

Edward L. Moskowitz, CAS President of the Cinema Audio Society 4





To educate and inform the general public and the motion picture and television industry that effective sound is achieved by a creative, artistic and technical blending of diverse sound elements. To provide the motion picture and television industry with a progressive society of master craftsmen specialized in the art of creative cinematic sound recording. To advance the specialized field of cinematic sound recording by exchange of ideas, methods, and information. To advance the art of auditory appreciation, and to philanthropically support those causes dedicated to the sense of hearing. To institute and maintain high standards of conduct and craftsmanship among our members. To aid the motion picture and television industry in the selection and training of qualified personnel in the unique field of cinematic sound recording. To achieve for our members deserved recognition as major contributors to the field of motion picture and television entertainment.

Front L to R: Peter Damski, Joe Foglia, Richard Lightstone, Paul Vik Marshall, Edward L. Moskowitz, David Bondelevitch, Melissa Hofmann, Sherri Klein, Lee Orloff, Paul Rodriguez Back L to R: Michael Minkler, Paul Massey, R.D. Floyd, Douglas Hemphill, John Coffey, Agamemnon Andrianos, David Fluhr, Bob Bronow, James Coburn IV

NEW MEMBERS Active Michael Alexander, CAS Bryan Arenas, CAS David Baumgartner, CAS Kerry Paul Brown, CAS Greg Cosh, CAS Clint Crump, CAS Bill Devine, CAS Gary Epstein, CAS Scott Jason Farr, CAS Darryl L. Frank, CAS Tom Marks, CAS

Benny Mouthon, CAS Fernando Muga, CAS Michael Playfair, CAS Resul Pookutty, CAS Richard Pryke, CAS Chris Strollo, CAS Ian Paul Tapp, CAS Karol Urban, CAS Richard Robert Van Dyke, CAS


Student Brandon Brown Jerry Garcia James Hulse Alan Koda Richard Manriquez Jr. Joshua Dale Phippin Michael J. Thompson Jon P. Tichenor Renick Patton Webb Jr. Stephen Burke Zack

Robert Sharman





Flowers, bumblebees, allergies. Pilots! Here we are near the end of spring, gearing up for summer, but first, let’s wrap up the season by getting to know the folks who took home top honors at this year’s CAS Awards ceremony. In this issue of the CAS Quarterly, we’ll get to hear from the teams behind Slumdog Millionaire, Fox Network’s 24, the HBO miniseries John Adams, Discovery Channel’s Deadliest Catch and the Smashing Pumpkins DVD If All Goes Wrong, through interviews by the editors and a synopsis of the “Meet the Winners� forum brought to us by Paul Vik Marshall, CAS. In addition to our award winners, this issue also provides a great way to read about your fellow members in the “Been There Done If you have something That� section and to “see� them in of interest, whether on their “The Lighter Side� submis- the production or postsions—of which we had a record production side, please amount! Thanks for sending in those feel free to contribute. pictures! Jonathan Gaynor, CAS discusses some interesting location baffling approaches and Will Hansen, CAS shares some hard-earned lessons on the value of insuring your rig. The Quarterly is produced as a service to our members on a voluntary basis. We appreciate and encourage your feedback and suggestions—so send them in! We would like to thank the members who send in story ideas—or even the whole story already written! If you have something of interest, whether on the production or post-production side, please feel free to contribute. For this, or any other issue relating to the Quarterly, you can email us at CASQuarterly@

Peter Damski, CAS

Matt Foglia, CAS


President: Edward L. Moskowitz Vice President: David Bondelevitch Treasurer: R.D. Floyd Secretary: Peter Damski BOARD OF DIRECTORS

Agamemnon Andrianos Bob Beemer Gary Bourgeois John Coffey David E. Fluhr Ed Greene

Doug M. Hemphill Paul Massey Michael Minkler Lee Orloff Jeff Wexler


Bob Bronow Paul Vik Marshall Joe Foglia Paul Rodriguez OFFICE MANAGER

Patti Fluhr EDITORS:


Cinema Audio Society 827 Hollywood Way #632 Burbank, CA 91505 Phone: 818.752.8624 Fax: 818.752.8624 Email Website

Dan Dodd 310.207.4410 x 236 Email: Š2009 by the Cinema Audio Society. All rights reserved. CASŽ, Cinema Audio SocietyŽ, and Dedicated to the advancement of SoundŽ are all trademarks of the Cinema Audio Society and may not be used without permission. SPRING 2009




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Celebrating over 80 years of

Peter Damski Matt Foglia

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Š and ™ 2009 Warner Bros. Entertainment, Inc. All rights reserved.


Compression Wars, the Next Phase

by G. J ohn Gar r et t , CAS


In my last installment, we discussed FM broadcast signal processing and the steps broadcasters take to make their signal loud. This time, we’ll look at AM signal processing. At the beginning, it’s important to recognize that AM processing is even more aggressive than the FM processing outlined in the last issue of CAS Quarterly. AM radio is mono unless you’re listening to HD (analog stereo AM having been almost completely abandoned by now). Most processors in place are analog and there is even more HF boost than in FM transmission. There is no standard requirement for pre-emphasis but the NRSC (National Radio Standards Committee) specifies a hard roll off above 9.5kHz to reduce adjacent channel interference. AM can sound great. Just ask a ham radio operator who has heard AM transmissions from an old Collins transmitter. It’s very nice. But the commercial AM spectrum is divided up into

10kHz chunks and adjacent channels actually share the same spectrum and interfere with one other. For instance, a station on 1000kHz has its upper sideband overlap with the lower sideband from a station on 1010kHz. A 1kHz tone on 1000kHz shares the same spectral space with a 9kHz tone from a station on 1010. And you thought Block 21 was getting crowded! In the beginning, there was no audio processing and no bandwidth limitations. There was also only one station on the air. This is the beginning we’re talking about. Stations started boosting mids and highs, going out to 15kHz or 18kHz, which would completely kill the first adjacent (+/- 10kHz), some second (+/- 20kHz) and some third adjacent channels due to receiver designs of the day. It made the stations sizzle, and made them sound louder, improving fringe area performance. Next, broadcasters began clipping negative peaks so that posi-

OPTIMOD-AM Audio Processor




tive peaks would go over 100% modulation, which is the equivalent of having increased power. By this time, FM was sounding better than AM because of the competitive signal processing wars that had begun in that space. About this time, the FCC imposed a brick wall filter at 10kHz to lessen adjacent channel interference and recommended (but did not require) a pre-emphasis curve similar to that used in FM but shelved at 10kHz, since due to the bandwidth limits there was no point in spending the energy above 10kHz. The NRSC then proposed a pre-emphasis curve (chart) that kept adjacent channel interference down and still had some sonic HF Receiver Equalizer Curves integrity. Shape 0, 5 and 10 are plug-in presets often found in AM processing. New processors began of the biggest music hits of all time broke on AM radio. shipping with all the usual pre-emphasis curves but now also Now here’s a block diagram of the Orban 9100B, a very with the NRSC curve. Later, the NRSC developed a spectrum popular analog processor in wide use in the United States. analyzer-defined mask and the FCC instituted the mask as law. A few things to note are that right after the input stage is If a broadcaster is using the mask as a processing preset, they a block called a phase scrambler, which introduces a varying are in compliance, bandwidth/energy wise. Stations can still do phase error below 300Hz to reduce assymmetry in the wavemore tweaking as long as the signal remains inside the mask. form. There are all-pass filters which introduce phase errors A 1KW carrier develops 4KW instantaneous energy at 100% to reduce assymmetry in voice waveforms. And then clipper modulation. AM stations are allowed 125% positive peak moducircuits in every band of the multi-band processor. lation, but no more than 100% negative peak modulation, so Now, Bob Orban is a very smart guy, and all this seemnegative peaks are clipped. That clipping creingly wacky processing really makes AM work This seemingly ates splutter outside the passband so there’s pretty well. And by “work pretty well,” I mean a very steep lowpass filter before the NRSC it makes AM radio loud and intelligible within wacky processing the limitations imposed by the channel spacmask. The filter “rings” and there’s about 2.1dB of overshoot so the signal gets clipped really makes AM ing and the desires of broadcasters to be the and filtered again to get the overshoot down to loudest thing on the dial. Also, these days AM work pretty well. is not as wildly competitive as FM, and a lot around 1dB. At the same time, there’s a side chain running of stations do use the NRSC pre-emphasis that takes the overshoot audio energy, inverts it And by “work pretty curve. and adds it back to the signal to reduce overThis should give you some idea how AM and well,” I mean it shoot more. This is all for the sake of being FM signal processing works and why the signal makes AM radio is treated as it is in each case. Television mixes loud, so you can get your 125% positive peak modulation. Not only that, the filter shape don’t seem so bad now, do they? causes the most overshoot between 5kHz- loud and intelligible Diagrams reprinted with permission from 8kHz where hearing is very sensitive, and the Robert Orban and Orban, Inc. For additionwithin the processing is audible. al reading, see limitations. Having said all this, don’t forget that most /Reports/NRSC-R101.pdf • CAS QUARTERLY



by Peter Damski, CAS

Valentine’s Day 2009 was a very special day indeed. February 14, 2009, was the day that many of the industry’s best sound people gathered for an evening to honor some of their own. The Crystal Ballroom at the Millennium Biltmore in Downtown Los Angeles, California, was the setting for this fun and entertaining event. Sam Rubin returned as emcee for the second year in a row, and his positive attitude and quick wit kept the evening moving along nicely. This was truly an international event, with people attending from both Great Britain and India. One can really begin to understand the status of this group, when you see some of the great people that attended this event. Presenters for the mixing awards included mixers Ben Burtt, Lora Hirschberg, Resul Pookutty, Greg Orloff, CAS and Frank Morrone, CAS. The CAS Filmmaker Award was presented to Paul Mazursky by close friends, Mark Berger, CAS and actress Maria Conchita Alonso. The award for Career Achievement was presented to Dennis Maitland, CAS by his son, and production mixer, Tod Maitland, CAS and close friend, director Norman Jewison. The Technical Achievement Awards were presented by CAS Board member Agamemnon Andrianos and CAS Vice President David Bondelevitch. Although the industry is in the midst of an economic downturn, attendance at the event was still more than 325 people. This was the first time in quite awhile that the CAS honored a member from the East Coast and it was good to have several members attend from that part of the world. The following is a list of this year’s winners and some stories to match.


Slumdog Millionaire Resul Pookutty Production Mixer Ian Tapp Re-recording Mixer Richard Pryke Re-recording Mixer OUTSTANDING ACHIEVEMENT FOR TV MOVIES AND MINI-SERIES

John Adams “Join or Die” Jay Meagher, CAS Production Mixer Michael Minkler, CAS Re-recording Mixer Bob Beemer, CAS Re-recording Mixer OUTSTANDING ACHIEVEMENT FOR TV SERIES

24 “Redemption” William F. Gocke, CAS Production Mixer Michael Olman, CAS Re-recording Mixer Kenneth Kobett, CAS Re-recording Mixer OUTSTANDING ACHIEVEMENT FOR TV NON-FICTION, VARIETY OR MUSIC – SERIES OR SPECIALS


Smashing Pumpkins If All Goes Wrong John Lemon Live Audio Mixer Kerry Brown Re-recording Mixer Kevin Dippold Re-recording Mixer Brian Slack Re-recording Mixer TECHNICAL ACHIEVEMENT IN PRODUCTION


CEDAR DNS3000 dialogue noise suppressor CAS QUARTERLY



Left: Maria Conchita Alonso and Paul Mazursky Below: Ian Tapp, Resul Pookutty, Richard Pryke

Outstanding Achievement for TV Movies and Mini-Series

JOHN ADAMS “Join or Die” by Matt Foglia, CAS

Above: Norman Jewison Below: Ben Burtt

Tod and Dennis Maitland Left: Sam Rubin

2009 Honorees

CAS Filmmaker Award

Paul Mazursky 12



CAS Career Achievement Award

Dennis Maitland

HBO’s seven-part mini-series, John Adams, follows the journeys of America’s second president, beginning in Boston prior to the Revolutionary War. Being a period piece, a majority of the series was filmed on location at Colonial Williamsburg in Williamsburg, VA, along with a soundstage that was built out of an old bowling plant located outside of Richmond, VA. Additionally, there was 2½ months of filming in Budapest. “The beauty of shooting in Colonial Williamsburg is that it’s a reenactment environment. So the main extraneous noise tends to be pedestrians instead of automobiles,” states Jay Meagher, CAS, the series’ production mixer. “Working on this project was a dream come true,” he continues, “because I’m a real history buff. Plus, I was able to work in Virginia, which is where I live.” Meagher started his career in audio as a systems engineer in 1985 for live sound company Showco. After a couple of years, Jay was looking to shift gears and, through some L.A. friends, was able to start booming on some TV series. That led to a booming gig on The Adventures of Young Indiana Jones— the George Lucas TV series—which soon turned into a production mixer gig. “Those episodes were directed by a lot of feature directors, which led to a lot of connections,” remembers Jay. As for his first foray into features, “Terry Gilliam was slated to direct one of the Indiana Jones episodes. We met, but something fell through with him directing the episode. He came back to the states a little bit later and hired me to be the production mixer on 12 Monkeys. I was fortunate enough to get some very big breaks early on.” Jay has since worked on numerous features as well as a number of series. The first episode of this series, “Join or Die,” takes full advantage of the dynamic range of the human voice. From intimate, interior scenes with near-whispering dialogue to exterior mob scenes to rowdy interior court scenes, the dynamics really enhance the drama. Asked if his approach varied from scene to scene, Jay states, “Not really. I always ran two booms—about 80% of it ended up just being the booms. Of course, I’d also use lavs or plants for enhancements or when the shot was too wide.” As for his usual setup, Jay reveals, “My primary recorder is the 10-track Deva V, using a Sound Devices 744T 4-track as backup. For a boom, I like the Sennheiser MKH50, especially when humidity is an issue. I also broke out the little Schoeps blue tubes (CMIT 5 U) a couple of times. For lavs, I use the Sanken COS-11s. I really like the way the textures of the two work together.” “As for track layouts,” Jay continues, “channel one is the mix I would go with for the scene with track two being a 3 dB down safety of that. The other channels are pre-fader sends of all the mics. I use the Deva’s built-in pre-amplifiers and use the Zaxcom Mix-12 control surface, which interfaces with the

Left to right: Michael Minkler, CAS, Jay Meagher, CAS and Bob Beemer, CAS

Randy Pease (boom), Chris Jones (utility) and Jay Meagher, CAS

Deva.” Asked about how he was able to achieve such a clean sound during some of the aforementioned extremely intimate dialogue, “I had two really good monitors that allowed me to really ‘listen’ from the camera’s intimate perspective and match the sound with the picture. Plus, I’ve been using the same boom operators for years and they are both incredible at reading scenes.” Being a period piece, costumes can be an issue when using wires—especially with the scratchiness of wool. Asked how he worked around this issue so that the clothes didn’t dictate the sound, Jay mentions, “We have a few methods that allow us to really isolate the mic. These approaches, along with the cooperation of the costuming department, kept things at bay.” Ring. Ring. “ADR Hell.” This is how Michael Minkler, CAS answered the phone when I called for this interview. Asked if this was the scenario when he worked on John Adams, Michael recalls, “No. Jay’s production tracks were really well recorded and on days like today, you really appreciate that even more.” Minkler, along with his mixing partner for this series, Bob Beemer, CAS, rarely work on television programming—features are their focus (we could fill half of the CAS Quarterly with a listing of their credits and associated accolades). So how did they end up working on this television project? “The director was having difficulty achieving his vision of the sound. So HBO CAS QUARTERLY



called and asked if Bob and I would do them a favor. The director really wanted the first episode to set the tone for the rest of the series—so it had to be done as accurately as possible for the other episodes to build upon. Both Bob and I happened to have projects that were pushed back a couple of weeks, so we gave it a shot.” With a number of creative decisions already made, Michael and Bob spent six days sorting through what was given to them. “The other teams had done a good deal of work already—there were some 500 effects tracks and 200 dialogue tracks. We weeded through it, readdressing some things and starting from scratch on others.” Michael continues, “Bob and I spent about six days by ourselves. Working on the Euphonix System 5, I handled the dialogue and music while Bob handled the effects. Then the director came by and said, ‘Let me hear what you guys have been up to.’ So we play it back and, afterward, he goes, ‘Now, you’re not going to let me change this are you?’”—a testament to Michael and Bob’s reputations as mixers. “We spent a couple more days making some adjustments—making sure the director was pleased. Our job was to define the personality, determine the density and establish the character that was the soundtrack,” recalls Minkler. Bob and Michael had other scheduling obligations, so some of their colleagues han-

dled additional tweaks that came up due to the density of the producing staff. “Episode one spent 39 days on the mix stage—that’s not editing—that’s mixing!” reveals Michael. The variations in set and dynamics that Jay Meagher mentioned often came together in a linear fashion during the final mix. With scenes shifting from interior whispering to exterior mob, balancing everything successfully is quite a feat. Michael and Bob successfully completed the task at hand—setting the sound precedent for the rest of the mini-series. In addition to the first episode, the two went on to mix episodes two and seven. Because of scheduling conflicts, the other four episodes were mixed by Michael’s Todd-AO colleagues, Marc Fishman and Tony Lamberti. Marc and Tony listened to Michael & Bob’s mix so that they could carry on in the same style. The work hasn’t gone unnoticed by their peers. While Michael and Bob have had a number of CAS nominations and wins for their film work (not to mention Oscar nominations and wins), this was their first CAS nomination and win for a television-based project (they also received an Emmy nomination). We congratulate Bob, Jay and Michael on their welldeserved recognition.

Outstanding Achievement for TV

24 “Redemption” by Peter Damski, CAS

This year’s winner of the CAS Award for Outstanding Sound Mixing for a Television Series is 24 “Redemption.” The mixing duties on this show are shared by production mixer William Gocke, CAS and re-recording mixers Michael Olman, CAS and Kenneth Kobett, CAS. 24 is no stranger to award-winning sound mixing, as this highly qualified mixing team has been nominated for the CAS Award every year since 2003 and has now won twice. The Television Academy has also nominated their great work six times and has bestowed the Emmy Award for Outstanding Sound Mixing twice. I had the pleasure of interviewing Mr. Gocke and Mr. Olman and their responses appear below.


24 “Redemption” was filmed on location in South Africa, with a South African sound crew, and also on various locations and on stages in Los Angeles. On 24, recording dialogue is somewhat of a challenge, as on any show using two cameras. Oftentimes, one camera is filming tight close-ups, while another camera is wide and roving. Because of this shooting style, all actors are fitted with wireless microphones. The boom operators on 24 have excellent skills and attempt to boom every scene. All microphones, whether boomed or RF, used in a scene are pre-faded and recorded. The mixed track and all pre-faded tracks are burned to a DVD and sent to the editors. 14



Kiefer Sutherland as Jack Bauer in 24 “Redemption”

Many actors on our set have the tendency to speak very softly (no names on location) and sometimes loudly project immediately after a whisper. Keeps a sound guy on his toes. On 24, the boom microphones of choice are Sennheiser MKH 416s, MKH 50s and MKH 60s. Presently, the wireless microphone systems being used are Lectrosonics 210, 211 and 411, with Sanken COS-11 lavaliere mics, and have been very solid tools. The Zaxcom/Deva-5 is the recorder being used and has performed flawlessly. The Deva is very user-friendly. On the first and second seasons, the Fostex PD-4 DAT machine was the primary recorder and worked well, but later became outdated. 24 is a very fast-paced show, which keeps my excellent crew of Todd Overton, Mark Overton and Cory Woods on their toes. They do great work and are the backbone of the

sound crew. Here are some of the challenges facing the production crew on 24: • Fast Paced • Full-load Gun Shots • Whispering Actors • Screaming Actors • Ad-lib Dialogue • Constantly Changing Dialogue • Noisy Locations It’s challenging, yes, yet a lot of fun with a great production crew. We’re looking forward to season eight.

Post-Production Q&A

Damski: Was this stand-alone episode any different from your normal workflow on 24? Olman: I think this episode was pretty much in line with our normal workflow routine, but the difference was that we all felt this was something special. The look and feel of the show was a little bit different and a little bit more intimate. You got a chance to see some very interesting interpersonal relationships that the show doesn’t normally get a chance to highlight. We certainly took that into account when we started mixing and continually evaluated what we were doing with the sound to make sure that it was supporting what was happening on the screen, rather than distracting from the action. Damski: Has your approach to mixing changed since you began the series several years ago? Olman: I think that we have changed a few things over the years. That is certainly a benefit of working with a series for so long—you get the chance to learn what works and what doesn’t. It’s not like doing a series pilot or just one or two years of a show. I am finding that we have been afforded opportunities to try new things and new ways of mixing or treating dialogue or effects that we wouldn’t have had an opportunity to do otherwise. Always, the producers and directors have taken notice and given feedback, whether positive or negative, but in a very comfortable environment where it was recognized that we were trying to reach for something bigger and it either worked or it didn’t. But everyone has always been more than appreciative of our efforts. It’s been a great situation to be able to work on this series and get to come to know the directors and writers and producers, not to mention our lifeblood—the production sound crew! Damski: I watch the show regularly, and I noticed that some of the talent is very soft spoken much of the time. Does this pose any additional challenges for you? Olman: Mixing the show’s dialogue is, indeed, a challenge. It’s a question of trying to see how much of the dialogue we can get cleaned and intelligible and then relying on ADR for the rest. Bill Gocke and his crew do a fantastic job of trying to get everything. I find that I rely heavily on the noise-reduction side of my dialogue chain, due to the soft-spoken dialogue. Sometimes it’s tough to get the dialogue clean, due to the constant move-

ment of everyone on the set, but I have found that the unique situation of the soft-spoken dialogue on this show has given me an opportunity to become a better mixer and to be able to really try to look at mixing outside of the conventional approach.

Damski: What gear are you using and how has this changed your approach to mixing the show? Olman: My gear is pretty simple. It’s mostly noise reduction and de-essing. Pretty standard stuff. In my chain, I have a Ceder DNS-1000, Dolby 430 and an old Dolby CAT-43 (which I wouldn’t trade for anything in the world). Beyond that, I have a DBX 162SL and a LEXICON 960L. Also, I added in a Speakerphone plug-in last year. This show uses so many cell phones, televisions, radios and other modulated devices that it only made sense to add Speakerphone. It’s been a really helpful tool. Damski: What challenges do you face with the juxtaposition of loud sound effects and quiet dialogue? Olman: Ha! The age-old battle between good and evil! Ken and I really work together as a team to pick the important moments. We work hard to determine what dialogue is important and what effects are important in a scene and are both equally willing to give up our tracks, in favor of the other’s tracks, if it serves the picture. The picture is ultimately the great arbiter of what we do and how we do it. Damski: How much ADR is done and why? Olman: In a typical episode of 24, there are usually between 150-200 sync lines, plus group. It’s a handful, to say the least. Some of it is protection. Some is for clarity. Sometimes it’s only for the insertion of a single word in a line. Others are for off-stage dialogue. The nature of the show is that everything is in constant flux, so we need to have every base covered. I have to give huge great-big kudos to our ADR mixer Jeff Gomillion for his work. He makes my job so much easier with his attention to detail and work ethic. Damski: Describe the stems that are given to you by the sound editors. Olman: On the dialogue side, I frequently receive eight tracks of production dialogue and then 8-16 channels of ADR and group, depending on the episode. Everything has always been well thought out and edited to play up what is on the screen. We have really had a great working relationship with William Dotson and Cathie Speakman at Wilshire Editorial. They do a great job, week in and week out. I want to thank these busy people for their responses and their exquisite example of mixing for the rest of us.




Outstanding Achievement for TV Non-fiction, Variety or Music Series or Specials

DEADLIEST CATCH “No Mercy” by Matt Foglia, CAS

Discovery Channel’s Deadliest Catch is one of the network’s most successful series. It has a rabid fan base that blogs intently about each week’s encounters. One of the boat captains was even a guest on The Tonight Show—not too shabby for a “real” reality show. And while those captains have to navigate the treacherous waters of the Bering Sea, Bob Bronow, CAS has some navigating of his own to do—albeit from the comfy Eames chair that sits in front of his mixing console. Bob’s association with the show began when, “I was mixing some shows for Original Productions and they said, ‘We have these three episodes about crab fishing in Alaska that we need you to mix.’” Those three episodes have stretched into what is now the show’s fifth season. Bob Bronow was a musician who segued into doing live sound at L.A. clubs beginning in 1983. From live sound he moved into production, producing videos and radio commercials for six years. This led to an interest in sound for television. To assist with the transition, in 1991, Bob took Pro Tools classes. “Digidesign had started offering these sound classes. I felt like the Pro Tools platform was going to be the next big thing in audio, so I enrolled.” This led to freelance Pro Tools gigs and then an engineering job at WoodHolly Productions, working, instead, on a Lexicon Opus. “It was outdated even then,” chuckles Bob. However, the gig allowed him to work on all types of projects from commercials to infomercials to documentaries to episodic TV. “It was a great place to cut your teeth,” recalls Bronow. Today, Bob works at Max Post, which is the postproduction division of Original Productions—the creators of Deadliest Catch. So how is this cacophony of nature recorded? With fingers crossed, apparently. Given the extremely cramped quarters, not to mention the inherent danger associated with shooting on a crab boat in the Bering Sea, the producers opted not to have a production mixer on each ship, keeping the production crew minimal to alleviate congestion. According to Bob, the picture and sound setup is as follows: There are two handheld cameras, each equipped with Sennheiser 416s and Rycote Softies for wind protection. They also have a receiver for the wireless lavs. There is a third 416 mounted on deck for ambience. On the deck, there are two fixed cameras; one is a ‘smart’ camera, which records the wireless lavs and ambience, and the other is a ‘dumb’ camera, which doesn’t record audio. The fixed captain camera has a Sony ECM NV1 mic and a receiver for the captain’s wireless lav. There is also an additional wheelhouse handheld camera that receives the captain’s wireless lav. “I’ve got to hand it to the cameramen,” says Bronow. “They’re trying to document the events, stay out of the way yet still engage a working crew in conversation for the story’s sake, 16



frame shots and listen to audio all while trying not to get thrown overboard. At the end of some of these shooting days, the camera guys are just happy to be alive!” (Makes me glad I focused on audio post. –Ed.) Given those circumstances, plus the mood of the fishing crew, Bob states, “Soundwise, you pretty much get what you get.” Back on land, Bob is delivered an OMF and has his assistant conform and edit the dialogue according to the layout that Bob prefers, while being conscious of Discovery’s various delivery requirements. Bob will then do an effects build using his Bob Bronow, CAS at the awards ceremony archive of sounds (top) and in his studio (above) Courtesy of Bob Bronow from other Deadliest episodes. “At the start of each season, I send out a ‘wish list’ of sounds I’d like get. That way, whenever the video shows a 1,000-lb crab pot dropping on deck, I have that actual sound. Maybe my only sync

Gone fishin’. Photo courtesy of Discovery Networks

sound for that particular shot comes from a lav—which, naturally, doesn’t deliver the true impact of the pot. But the sound would have already been recorded for me whenever things were a little lighter on deck, so I’ll sub that sound in. We really try to keep it as authentic as possible.” Bob is usually given three days to conform, cleanup, mix and layback the show. Toward the end of the third day, the client will come in and watch the relay, giving any changes notes. “We lay back to HDCam SR using Discovery’s nine-channel relay configuration—which allows Discovery to cover multiple delivery needs via a single piece of tape. In addition, we also use channels 10-12 for additional

dialogue and effects configurations. These are what the editors tend to pull from when doing ‘flashback’ sections or the ‘best of’ episodes.” As for the whole process, Bronow concludes: “On one hand, sometimes it’s tough. We can’t exactly go back and do pickups for poor sound. On the other hand, it can be liberating because, basically, what I have is what I have and it’s my job to make it work.” Looks like your making it work just fine, Bob. Congratulations on your win!

Outstanding Achievement for DVD Original Programming

Smashing Pumpkins IF ALL GOES WRONG by Matt Foglia, CAS Beginning with their 1991 debut release, Gish, the Smashing Pumpkins have gone from cult band to multi-platinum-selling mainstream stars to disbanded; all with the requisite personal dramas that frequently encapsulate success. Yet the band has always been about music and the band’s leader, Billy Corgan, has never shied away from implementing new elements into his music or introducing new music to his fans. The documentary If All Goes Wrong follows Corgan as he takes up residency at two music venues while reuniting his famed band. Among other things, the viewer gets to observe the creative process of song composition along with the uncertainty associated with performing new material live. The result is an intriguing insight into the mind of an artist. The DVD is divided into two parts, the main documentary and the music performances. These performances include a full show from the Fillmore in San Francisco and additional performances from a smaller venue located in Asheville, NC, called the Orange Peel. It is with the live-performance portions of the program that veteran live sound mixer Jon Lemon captured the band’s energy. “We taped many evenings at both venues. I was running 66 band mics and two audience pairs via two SSL MADI connectors from my DiGiCo D5 console into a Pro Tools HD rig,” reveals Lemon. “I had a dozen Neve mic pre’s with John Hardy’s handling the rest.” Jon, who has been running front of house for decades for artists ranging from Pink Floyd to Janet Jackson to Mötley Crüe to The Cure, and has many concert DVD/CDs under his belt including releases by Oasis, Nine Inch Nails and Depeche Mode, began working with the Smashing Pumpkins in the summer of 1995 during their European tour. “I was asked to continue the tour but had obligations to another artist. It took us 12 years to get together again—but what a great tour it was!” For one of the Fillmore shows that Jon Lemon was working

Kevin Dippold and Brian Slack

on, Billy Corgan extended an invitation to longtime acquaintance Kerry Brown to come and see the band. “A couple of months later, I got a call from Billy asking me if I’d be interested in mixing the shows as well as the documentary portion they were editing,” recalls Brown. “Having worked with him in the past, and being a fan, I said, ‘Of course!’” Brown’s background has him Jon Lemon leaving Los Angeles in his 20s Courtesy of Jon Lemon to study sound in Chicago. This led to him and a partner opening a recording studio. The Smashing Pumpkins, being Chicago-based, recorded at his studio in the ’90s, which launched their relationship. In the summer of ’98, Brown felt it was time to head back to Los Angeles. “I started doing music editing for TV and film and really CAS QUARTERLY




enjoyed this side of sound,” he recalls. Kerry soon developed some strong relationships with producers and became very busy supervising a number of sound editors. “I just wouldn’t say no. I had a good-sized team that was, fortunately, always busy. It’s how I amassed my current studio space,” he states, referring to the two studios that are adjacent to his Beverly Hills home. One of the studios is outfitted with the new Rupert Neve Designs 5088 analog console. “It’s so nice to get ‘out of the box’ and mix on a classic sounding console,” admits Brown. For the documentary portion, Brown mixed the music performances and then incorporated the stems into the main DME mix. Brown’s colleague, Kevin Dippold, performed the dialogue cleanup and premixing as well as sound design for the sessions. Dippold, who is also a recording engineer, sound editor, musician and composer, met Kerry during a chance encounter. “I was playing guitar for an artist Kerry was working with and, after a gig, Kerry invited us all over to his studio to jam. We jammed and recorded on a couple of occasions. Then, a couple of months later, he asked me to help him out with this project,” remembers Kevin. Since the documentary portion only used a camera-mounted shotgun, Kevin had a good amount of cleanup and premix to do. “There was often extraneous noise that I would EQ and noise reduce. But sometimes you really paint yourself into a corner because words can very easily start to sound over-synthesized,” states Dippold. “In the end, we really scaled back on the noise processing because Billy was trying to keep the mix as natural and organic as possible.” Kerry recalls, “That’s very true. There’s even a song where the guitar goes out, but instead of dubbing that in during the mix, Billy said no because it wasn’t how the performance was experienced by the fans.” The final project was enthusiastically received by fans who were quick to embrace the intimacy of the documentary and the vividness of the concert performances. Along with Jon, Kerry and Kevin, Brian Slack of Widget Post, handled rebalancing for the DVD and the encoding. Congratulations to you all for the fine work. •


DCODE SB-T DENECKE, INC. 25030 Avenue Stanford, Suite 240  Valencia, CA 91355 Phone (661) 607-0206  Fax (661) 257-2236  Email:




From left: Kevin Dippold, Billy Corgan and Kerry Brown Photo: Kristin Burns

46th cas awards timetable

• Entry Submission Form on CAS website Thu., Oct. 15, 2009 • Entry Submission Form mailed Mon., Nov. 2, 2009 • Entry Submissions due by 5 p.m., Fri., Dec. 18, 2009 • Nominations Ballot Mailed Wed., Dec. 30, 2009 • Nominations Balloting Closes 5 p.m., Fri., Jan. 15, 2010 • Final Five Nominees announced Thu., Jan. 21, 2010 • Final Ballot mailed Fri., Jan. 29, 2010 • Final Voting Closes 5 p.m., Fri., Feb. 19, 2010 • 46th CAS Awards Sat., Feb. 27, 2010


“Meet the Winners” Forum 2009 On Saturday, March 21, at the Norris Cinema Theater on the University of Southern California campus, the Cinema Audio Society held their annual “Meet the Winners” forum. The event featured four of the five winners of the 45th Annual CAS Awards. The following is a brief recap of the forum. CAS President Edward Moskowitz started things off by introducing the moderator, David Bondelevitch, to the intimate crowd. Bondelevitch is the current Vice President of the CAS, past president of the Motion Picture Sound Editors, former teacher at USC and current teacher at the University of Colorado. Bondelevitch first thanked everyone for attending and then introduced the guests. He added that there would be video clips shown of the winning categories prior to talking to the guests.



by Paul Vi k Mar shal l , CAS First up, the production mixer for Slumdog Millionaire, Resul Pookutty, would talk via Internet conferencing from Mumbai, India, where the time was in the early-morning hours. Then came the re-recording mixer for Slumdog Millionaire, Ian Tapp, also talking via the Internet from London, England, where it was evening. The second re-recording mixer scheduled to join us from Slumdog Millionaire, Richard Pryke, was unable to make the connection. The rest of the winners were in attendance and answered questions in the following order: Deadliest Catch re-recording mixer Bob Bronow, CAS, Smashing Pumpkins If All Goes Wrong re-recording mixers Kerry Brown and Kevin Dippold, and finishing the afternoon’s forum, John Adams re-recording mixers Michael Minkler, CAS and Bob Beemer, CAS.

Resul Pookutty, production sound mixer Slumdog Millionaire

After being introduced and congratulated for winning the CAS, BAFTA and Academy awards for Slumdog Millionaire, Bondelevitch asked Pookutty to talk about production sound in India. Pookutty, the first Asian to win an Academy Award, was very humble and explained that after graduating from film school in 1995, the production and post-production sound com-


munity was almost nonexistent in India. He said that there was no sound equipment available, so he would collect mics from his friends, put them in a bag and go out to various shoots to record. At this time, he explained, most of the recorded production sound in mainstream Indian cinema was essentially used for ADR reference tracks that would be done after principal photography. Pookutty convinced his director and producer friends, who had studied abroad, to do their sound mixes overseas. This allowed him to work in London, Australia and other parts of the world, where he seized the opportunity to learn from the best mixers outside of India and to hone his skills. Pookutty said that in 1997, the first sound studio was built in Bombay (Mumbai) but, still, mainstream Indian cinema was all about the production value of good songs, good costumes, good sets and superstars. Production sound was not a priority. In 2005, Pookutty said he worked on the critically acclaimed movie Black, which he mixed in India. Indian production sound was now validated! Pookutty said he spearheaded the sound recording movement and became part of a new breed of Indian production and post-production mixers. He describes himself as a sound supervisor, overseeing the workflow from production through the final mix. Ed Moskowitz, during the Q&A, asked Pookutty if he used a cart system. Pookutty explained that he used two systems. He had one on a cart with the other being an over-the-shoulder rig (sometimes with two SQN mixers). He explained that the greatest challenge was to keep the tracks similar and consistent when changing back and forth between the two systems. He was always ready to go with either one. David Fluhr, CAS asked, “Did you do any ADR on location?” Pookutty said he did do a lot of wild track recording for noise and diction issues. He explained that director Danny Doyle wanted fluid camera movement and the gyro system on the camera had two motors running constantly and, in Pookutty’s words, “It made a hell of alot of noise!” An early scene in the production used the gyro system, and they had to do some ADR, but Pookutty said he developed a blimp system that eventually dampened the gyro motor sounds. Pookutty commented that he had the shock of his life when Doyle announced, “I’m going to ADR the entire film!” This prompted Pookutty to get together with the post-sound team and convince Doyle that the production sound was usable. They succeeded, avoiding an entirely looped film. Bob Beemer, CAS asked, “When you got back to India, did you come back a rock star?” Arriving in India at three in the morning, Pookutty said, “I was shocked—there was a stampede!” With an air of humility, he described the standing ovation he received as he walked through the airport. The police would eventually take him to the police station for his own safety, and then on to his home.

Pookutty said he hopes that the next generation of Indian filmmakers will be encouraged with the three Oscars that were brought back to India for Slumdog Millionaire. He ended his chat with the audience by thanking the sound community in the United States, England and all over the world for the love, affection and adulation that he has received.

Ian Tapp, re-recording mixer Slumdog Millionaire

Bondelevitch asked Tapp how he got involved with the movie. Tapp said that he had worked with director Danny Doyle on Sunshine, but his main connection was with Glenn Fremantle, the sound designer and supervising sound editor. Working out of England’s Pinewood Studios, Tapp said he did the dialogue and music mix while Richard Pryke worked on effects. They used three of the Pinewood theaters, using Theater One for pre-dubs and the final mix. Mixing was done on the Euphonix System 5, and the hard dialogue pre-mix was done in Pro Tools, while Pryke did a virtual effects pre-mix utilizing the System 5’s EuCon controls, Tapp explained. Gary Bourgeois, CAS asked Tapp, “Were the music tracks recorded in India and in what format were they delivered?” Tapp said he thought the tracks were recorded in India at AR Rahaman’s studio and were presented as Pro Tools sessions with four to six 5.1 stems on any one queue. Tapp then talked about the Oscar-winning song “Jai Ho,” and how Doyle thought that the temp mix of the song sounded much better, having more adrenalin and energy. So, Tapp said that they decided to use the temp mix and added a string stem. Bondelevitch asked, “How many dialogue and ADR tracks were used?” Tapp said that the supervising dialogue editor, Jillian Donners, had around 32 dialogue tracks and had grouped the tracks together according to scene and location. In addition, there were 24 tracks of crowd. Tapp estimates that they used 85% of location dialogue and 15% ADR. When removing noise, he said, they used the TC Electronics System 6000 multi-band CAS QUARTERLY



expander and the Waves C4. The last question was asked by Bourgeois. “Having won both the BAFTA and Oscar, has it changed anything in England for you, specifically for post-production in general?” Tapp responded that he hopes it will raise awareness of all those working in England and that being up there on the international stage is very important.

Bob Bronow, CAS, re-recording mixer Deadliest Catch “No Mercy” (also nominated for an Emmy Award)

Bourgeois asked, “What is the format of the show?” Bronow answered that on this Discovery show, they have their own format that is called the “Bronze Level,” consisting of a left/right stereo mix with a lot of stems. Bronow said he likes to mix 5.1, and then creates a stereo mix for the producers. Bronow said turnaround time for delivery is between two to three days. Bronow says that he is very lucky in that the producers will not hear the mix until layback and the trust that Original Productions, the production company for Deadliest Catch, has in him makes his job that much easier.

Kerry Brown, Kevin Dippold, re-recording mixers

Smashing Pumpkins If All Goes Wrong

mixing at his Water Studios in Beverly Hills, that Brown said he sometimes felt like he was at the concert and could smell some interesting stuff wafting around. Asked, “What levels do you mix to?” Brown, with a smile, replied, “Loud.” Instrument, vocal, stage and ambient mics all added up to 48+ tracks in the Pro Tools session. Brown added that the Fillmore footage was recorded at 96 kHz using a bit depth of 24. Brown said everything used in the concert project was performance without overdubs. The mastering was done at Capital Mastering and, Brown pointed out, “It was really nice at the end of the day to bring someone else in.” Brown said the documentary was mixed like you would a film, but with some twists. Brown said he left the concert footage in the documentary in 5.1, the rehearsal footage in stereo left/right and the dialogue right up the middle. Brown concluded that with the concert show, “A lot of mixing was getting ready for the mix, including editing out open mics, bleed-through and instrument mics that weren’t being used.”

Mike Minkler, CAS, Bob Beemer, CAS re-recording mixers

John Adams “Join or Die”

up using 42 days.” They said they approached the series as if it were a feature with the blessing of the producers of Tom Hanks’ company, Playtone. David Fluhr asked about the workflow and Beemer said, “This show was a little different in that a lot of the sound had already been addressed. So it had already gone through a process of sorts … most of it was subtraction.” Bondelevitch asked what system they were using. Minkler replied, “A Euphonix System 5 with 900 inputs which, sometimes, were all filled up.” Bob Bronow asked if the style of mixing changed when the other crews took over from them. Beemer said, “I think people were relieved that there was a set point of view because they

“I hope you all have seen it. It is so spectacular… I call it an event … it is something that every American should watch. How and why we became who we are.” –Mike Minkler

(also nominated for an Emmy Award)

Bronow was asked about the show and he explained that Deadliest Catch is a show about crab fishing and what makes it compelling are the dangers that the fishermen encounter. Bronow said crab fishing is considered the most dangerous job in the world and, this year alone, they have lost seven people. Bronow explained, because of the confined space on the boats and the extreme weather, there are no mixers or boom operators. He said the crew consists of two cameramen who are also producers. To collect audio, Bronow said Sennheiser 416s were mounted on the cameras and the fishermen, when willing, were laved. Bronow said, “You pretty much get what you get as far as the audio is concerned.” He added that each season, salt and ice destroy 70 percent of the film gear that goes out on the boats. Bondelevitch asked about the mixing process and Bronow replied that he gets an OMF from the Avid. The dialogue gets split to four or five tracks, depending upon the scene and, since it is a Discovery show, foreground dialogue and background dialogue will be on separate tracks. Narration, production effects and music will also be split out. Ultimately, Bronow said he uses between 60 and 80 tracks. The most important thing on this show for Bronow is making sure you can understand the dialogue. There is a lot of cleaning up in the dialogue predub and to do this, Bronow said he uses the plug-ins iZotope RX and Speakerphone. Using a Pro Control with VCA faders, Bronow said he does several passes of dialogue, natural sounds, effects and music, working his way to a final mix. 22



Bondelevitch asked Brown and Dippold to describe the project, pointing out that it was actually two different shows, a concert and a documentary on a two-set DVD sold in one box. Brown said that the concert was a series of 12 shows at the Fillmore in San Francisco and was recorded to multi-track, while the documentary was shot with high-definition cameras. He said the audio on the documentary cameras was an afterthought. Brown said the Fillmore shows were a month set up with the Pumpkins. There were 12 shows, three hours per show, playing new and old songs. Having a long working history with Billy Corgan of the Pumpkins (17 years), Brown was asked to come in and help with the project and give his take on what they had in the way of footage and music. Corgan and Brown said they decided to use cool B-sides and new material to put into the concert footage. Brown said the mixing process was like doing a traditional record. “We did not use gates. The venue was small and there were a lot of mics that went out. Kevin (Dippold) worked hard at cleaning up all of the open mics and the bleed issues. The mixing was done on a new Neve 5088 using Apogee converters.” Brown said he wanted to get out of the Pro Tools box and go analog. The concert project was mixed with 5.1 in mind. Brown said they wanted to make it feel as though you were in the room, so mics were placed all over the Fillmore. It sounded so good while

Michael Minkler started out by describing how he and Bob Beemer got involved with the project saying, John Adams needed some help with the sound, so he and Beemer were asked to come in and make it work. “We worked on episodes 1 and 7 and partially on 2 and 6. Prior to us getting on board episode 1, director Tom Hooper was having difficulties conveying the sound image he was looking for.” Beemer added, “The director wanted to create an off-stage world with sound effects … and it got a little distracting.” Minkler said, “The first episode had 510 sound effects and more than 200 dialogue tracks.” For Minkler and Beemer, the challenge was to get the director focused on what he had, which was incredible writing and acting. Bondelevitch asked about their schedule and Minkler said, “The original budget called for a six-day mix. We ended

were so busy jumping through hoops. They were exhausted trying this, trying that, and just trying to accommodate the director’s initial vision.” Minkler added, “He did a wonderful job. Tom Hooper directed all of the episodes and he spent two years of his life on this project.” Minkler went on to say, “I hope you all have seen it. It is so spectacular… I call it an event … it is something that every American should watch. How and why we became who we are.” A question from the audience was “How much of the original production audio was used?” Minkler said, “All. I don’t think there was a looped line through the entire seven episodes … it says a lot for production mixer Jay Meagher, CAS, who did all of the episodes.” For the last question, Minkler was asked about cleaning up tracks. He said the director would hear a lot of camera noise so Minkler, showing a John Adams clip as an example, would pull up the fire effects or add a cricket. Minkler said, “I’m not big on noise reduction. I do not like processing. I just let it stay there. I always put something in to cover it up—not to hurt the scene. To start taking noise out of production audio tracks, you are doing nothing but hurting the voice.” In conclusion, to have the opportunity to “Meet the Winners” of such diverse projects was amazing for all. The CAS would like to thank all of the guests for their time and participation. We would also like to thank USC and its staff for the use of the Norris Theater. We hope to see you at the “Meet the Winners” forum in 2010! •




Got Insurance? those hours I worked and all those dates I didn’t go on, and for Confucius say, “Needing insurance is like needing a parachute, what? I eventually pulled myself together and thought, “Well, if it isn’t there the first time, chances are you won’t be needing it might not be the best situation to be in, but production has it again.” I put this article together so that you might garner insurance so, eventually, it’ll be alright.” Or so I thought. some important information that may help in making the right It turned out production did have insurance. The Production decisions when shopping for equipment insurance or dealing with production insurance. Take it from me; jumping out of a Insurance however, did not cover my gear for its current plane with no parachute is no picnic. market-replacement value. I had $52,000 About two years ago, I found myself worth of gear stolen and nothing had mixing on a little indie feature shooting been recovered. Three months after the in Los Angeles. I had about three years in incident, I got an insurance check for the biz by then and this job seemed like all $16,000. Honestly, it was a nightmare to the others. They called me from a referral even get that paltry check. I had to provide from a previous job, we talked, and they receipts of all my purchases and prove that hired me. I asked if they had insurance I had paid for every single item. This was for the equipment and they said “yes.” nearly impossible, as I had bought most Then production gave me a copy of the of what I had from my friends. The insurscript. I figured that was that. It was great ance company took my claim amount and timing too, as I had just gotten off of a depreciated 5% off of the total purchase decent run in television and had my rig price for every year I had an item. Yes, looking pretty impressive, even if I do say that is 5% depreciation off of the original so myself. No more Mackie mixing board, price for every year that I owned that piece no more Lectrosonics 185s and no more of equipment. Everything was not alright recording onto DAT. At this point, I had after all. I replaced what I could and broke made it to the next level, a Cooper board, out the old gear to fill in what was missing Lectrosonics 411s and a digital multiin my sound package. Even still, when I get tracking system. I could not wait to get out bigger jobs, I have to sub-rent. Now you there and use my new toys. can see why I was compelled to write this I used my new setup for a week or two. article. I hope it will help other mixers out Then, one morning, after a walk away on there avoid such a frustrating and awful location with overnight security, I returned experience. to the set and walked into the hallway The following is what I have learned where my cart was. To my horror, my cart b y Wi l l Hansen, CAS from my experience. For those working on was completely ransacked! My equipment non-payroll jobs, do not sign a deal memo was nowhere to be found. Now this is a feeling I wish no one until you read the Production Insurance Policy (also known as has to experience. For three years, I had spent every spare an “Insurance Rider”) and make sure that your equipment is penny I had on buying up whatever equipment I could get my listed with total-replacement-value insurance. Technically, signhands on. In one random 10-hour turnaround, my whole life ing the deal memo makes you an independent contractor which had been stolen right out from under me. I sat in that dark requires you to carry your own insurance. For those working dingy basement hallway alone and I have to admit, I cried. All on payroll jobs, make sure the allotted money for equipment

Dealing With Production Insurance and Tips for Protecting Yourself




rental is made out to your business, (Doing Business As, DBA, or some type of corporation). It’s easy to create a DBA. Just go down to your local courthouse and register a name and they will give you a Tax ID number. Then put your company’s name into print for a year. Again, make sure your gear is covered with total-replacement value in the rider. The difference in this case (a payroll job), being that you are not an independent contractor. Your company becomes the vendor for your equipment and you become a person being hired. You are then entitled to workers’ compensation and unemployment and are not required to have your own insurance. Relying on just Production Insurance may not be your best choice. I feel that covering yourself with your own insurance policy is your best bet. Having a policy will cover you whether you are working or not. You do not necessarily have to tell production that you have insurance, so claims that are made affect their premiums and not yours. I’m sure there are people out there with stories of gear being stolen out of their car while getting a coffee or using a gas station restroom. The truth is, insurance is generally inexpensive. Additionally, you can write the cost of your policy off on your taxes at the end of the year. I’ve looked into the polices of a couple of companies. This is what they quoted me. The first company said for $50,000 worth of coverage, the total for the year would be $650 with a $500 deductible. The second company said for $50,000 it would run $625 a year with a $1,500 deductible or $800 a year with a $1,000 deductible. The third company said for $50,000 that it would cost $916 a year with a $1,000 deductible. And the final company said for $50,000 worth of coverage it would run $856 a year with a $1,000 deductible. All policies are worldwide policies. If I had purchased a decent insurance policy before I started the show, I would have spent around $1,950 for three year’s worth of coverage, paid something like a $500 deductible, to get the $36,000 I lost by not having it. Finally, I think it’s important to mention that even having replacement-value insurance can be a little dicey. Once you get into replacing something that is no longer on the market (discontinued items), you get what the insurance company feels is an equivalent piece of equipment. Also, in order to get a check from the insurance company for the replacement amount, the replacement gear has to first be purchased, and then the insurance company will issue a check. I do not agree with this, but it is better than not having insurance at all. Additionally, when having more than $100,000 worth of coverage, the insurance company will require that you install some type of security system where the equipment is primarily held, i.e. your house. So whatever you do, make sure you’re covered. It’s a long haul to recovery without it! • Disclaimer (read quickly): Will Hansen is not an insurance salesperson, representative, stockholder or in cahoots with the insurance industry (Ed. note).

Confucius say,

Needing insurance is like needing a parachute, if it isn’t there the first time, chances are you won’t be needing it again.





b y J on a t h a n Ga y n o r, C A S

At the end of last year, I had the pleasure of recording Dear John, director Lasse Hallstrom’s adaptation of author Nicolas Sparks’ latest book-to-screen effort of the same name. On the scout (which, remarkably, I was invited to—that’s another topic worth discussing sometime!), I discovered two very quiet locations, both of which would be even quieter on the nights we were to shoot them. They were deep in the South Carolina low country, miles from highways and made even quieter by the lack of bugs and frogs during that chilly time of year. The company had plans to bring in three tow generators to light these large exteriors where intimate dialogue would be recorded. I discussed generator placement with the best boy electric and gaffer and knew there would be a lot of potential for noise in the production tracks if something weren’t done to isolate the two closest plants (the third was more than 300 yards away behind a tree line). I had made primitive efforts in the past to wall-in noisy power plants with disappointing results, but this time I had the luxury of a very receptive construction coordinator and set carpenter along with grips and electricians eager to help (sounds crazy, but it happened). The construction coordinator and I had a brief discussion about materials and design during which I mentioned mineral wool—stuff I’d heard about that has remarkable sound-absorbing abilities. It traps unwanted sound, is resilient enough to last in the weather and it is less toxic and much more effective than fiberglass insulation. Four 8x14 panels were crafted and covered with four inches of mineral wool insulation held on with screws and bird netting (see photos/plans). On the day, two panels were positioned on the side of each generator, facing the set. There were no reflective surfaces behind the tow plants so their sound was reduced to a whisper at the panels and was gone at the set. The greens man camouflaged them with netting and both the panels and generators disappeared. Now we have to come up with something for all those noisy ballast, dimmer packs, craft service tables and e-fans! • 26



(Thanks to construction coordinator Tom Morris for his design and sound baffle drawings.)

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I want to thank Raul Bruce and Derek Cloud as we finish the fifth season of Grey’s Anatomy. The many guys that came in on the “double-up� days deserve great thanks, too. Steven Hawk CAS, Ken Segal CAS, Steven Grothe CAS, Robert Sharman, CAS and everyone they brought along, and anybody I didn’t mention, did a great job on a show where anything can happen and does. –Beau Baker CAS

Douglas Tourtelot CAS and his team finished our second season of Breaking Bad for AMC/Sony. In our first WGA shortened season of seven episodes, we were nominated for four Emmys and won two! Even better this year. It’s a great show and a great bunch of people to work with. I am very grateful. My great team: Misty Conn (awesome as always) swinging the boom and Steve

Willer keeping all our ducks in a row as the sound utility. Thanks guys!

Washington on them. Good until the end of July!

From Dennis Sands CAS: I’ve been busy with the following projects: Scoring and mixing G.I. Joe with composer Alan Silvestri. Mixing Terminator Salvation with composer Danny Elfman. Scoring and mixing Night at the Museum: Battle of the Smithsonian with composer Alan Silvestri. Scoring and mixing The Proposal with composer Aaron Zigman.

Andy Wiskes CAS and Lou Wiskes

Richard Lightstone CAS and his trusty crew of Jeff Erdmann, boom, and Damon Harris, second boom, picked up Season 4 of Lincoln Heights for ABC Family. By the time you read this, we’ve already begun shooting and we’re very happy to be receiving Disney’s “Stimulus Package�—you remember those things with the image of George

worked with these musician-type guys that play in this group Metal-ikka, or something like that, doing Guitar Hero commercials. Sure were a lot of limos, go figure. Then to the 18th green at Pebble Beach for AT&T and back into the studio finishing Michael Anderson’s feature Tenderloin. Doing ongoing volunteer work on the KPH Radio site, an ongoing restoration of one of the oldest maritime radio stations in the world. Morse code radio that is!

Dick Maitland CAS posting Season 40 of Sesame Street. Sound effects for Wonder Pets and BBC’s Third and Bird. Sound effects/foley for Linda Yellins’

I am mixing Percy Jackson and the Lightning Thief for Fox with Kelly Zombor booming and Ian Ferguson as third. –Rob Young CAS

upcoming Last Film Festival, starring Dennis Hopper. While live sweetening for PBS’s A Capitol Fourth on the Capitol Lawn a few years back in the pouring rain, the director chortled, “Hey Maitland, how are those people clapping while they’re holding their umbrellas...� Ed Greene CAS was highly amused.

Busy 2008, slow into 2009. Jeffree Bloomer CAS and his crew started in Florida on Like Dandelion Dust, then David O Russell’s Nailed had us spending spring and summer in Columbia, SC. New Mexico called and we crash’ed our way through the TV series, and finally, fall saw us in Michigan with Cuba and The Ben Carson Story. We were all home for the holidays and then some. Thanks to my hard-working crews: Tony Cargioli, John Sanders, Tim Cargioli, Albert Hedgpeth, Mike Faba, and Kellen Bloomer. Currently, Tony, Kellen and I are in Durham, NC, for March Madness and Horton Foote’s last gem, Main Street, with an ensemble cast,

Hi everybody! I have just started Season 2 of Sanctuary along with my talented boom operator Eliah Matthew. Once again we are broadcasting master split track dialogue to a multiple Red Camera array via UHF. This is my third year of doing this. Warm wishes to all. –Kevin Sands CAS

Frank Morrone CAS and Scott Weber finished mixing Sideways 2009 and are busy mixing Lost.

director John Doyle and Don McAlpine guiding the camera. It should be a nice one.

John Pritchett CAS along with boom man Dave Roberts and cable Shawn Harper had a merry time on Judd Apatow’s Funny People which wrapped in January. Starring Adam Sandler and Seth Rogen, this comedy about comedians featured just about every comedian in the business today. Finishing that and after a month’s “recovery,â€? John and team are now on Tom Vaughan’s Untitled Crowley Project based on a true story of one man’s struggle with the pharmaceutical establishment to find a cure for his kids who suffer from the always-deadly PompĂŠ disease. Brendan Fraser plays the distraught dad and Harrison Ford, the “madâ€? scientist who helps him.

















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After battling throat cancer for six months, Darryl Linkow CAS is happy to report that the cancer is in full remission and he is back at work, taking day calls for Entertainment Tonight and The Insider. I am presently working on the Untitled Nancy Meyers Project which started in New York, now in Los Angeles for five weeks and back again to New York. In Los Angeles I’m working with Randy Johnson on boom and Kelly Doran as our third. New York’s crew consists of Kira Smith on boom and Gregg Harris as the third. The film stars Meryl Streep, Steve Martin and Alec Baldwin. Best to all, Danny Michael CAS

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5/8/09 3:31:17 PM

Steve Morantz CAS finished up the second season of Samantha Who? and jumped into two pilots The Middle and My American Family and picked up a few second units and commercials. With me are Aaron Wallace and Mitch Cohn on boom and day players Jeff Erdmann and Damon Harris. April 13 Date Night, previously four weeks on Southland, then handed off to Duke Marsh so I can start L.A. part of Date Night. –David MacMillan CAS

Steve Weiss CAS started Season 3 of Saving Grace with Holly Hunter. Chris Tiffany and Dennis Carlin return to share the booming/laving chores. Please see the photo of the mid-life crisis vehicle license plate on the ’03 Vette (in “The Lighter Side” section).




tors Anthony Ortiz and Mike Scott. Temperatures in Greenland were around zero degrees Fahrenheit (-18 C) and below. Hopefully, Philadelphia will be warmer! Aloha from Susan Moore-Chong CAS along with boom operators Steve Payne and Frank Zaragoza. We are wrapping up our first full season on Bones at Fox. Thank you to Tom Stasnis CAS, Steve Morantz CAS, Coleman Metz CAS, Scott Stolz CAS and their crews for all their help with our double-up days.

Thomas Curley CAS has been recording DVD commentary for Prison Break, The Shield, and 24. He also recently mixed a “Green PSA” for the National Wildlife Federation Campus Chillout program. The shoot was powered by solar cells and used lite-panel lighting, recycled batteries, reusable water bottles, a biodiesel catering truck, and no tape stock. Hope all is well. Jeff Williams, John Agalsoff, and I, James P. Clark CAS, are working on the Bruckheimer pilot Miami Trauma.

Glenn Berkovitz CAS and boom operators Corey Woods and Danny Greenwald wrapped production early on Disney’s skateboard fest, Zeke & Luther, and were lucky enough to roll right over to NBC’s Parks and Recreation. We feel quite fortunate and thankfully they’re comedies, so we’re laughing all the way. Gavin Fernandes CAS has just finished the feature Trotsky for

Imagine, no vehicle traffic sounds. Without the tourists, just the sounds of water. Still on The Rescuers. –Susumu Tokunow CAS

director Jacob Tierney, starts soon on Dinolab 2 for Discovery, and then goes onto the teen movie À vos Marques, Party 2.

Chris Munro CAS is shooting The Last Airbender for M. Night Shyamalan on locations in Greenland and Philadelphia with boom opera-

I’m currently wrapping up the last few weeks on Season 1 of Lie to Me for Fox with my same crew from John Adams. I’m then heading east CAS QUARTERLY



to start on a feature in the south. Thanks again. –Jay Meagher CAS

George Flores CAS, boom operator Valeria Ghiran and utility Mitchell Gebhard will return to the fifth season of FX’s It’s Always Sunny in Philadelphia for yet more summertime low-brow high jinks. Shoutouts and thanks go to Marc Gilmartin CAS, Steve Bowerman CAS, Phillip Palmer CAS, Susan Moore-Chong CAS and Glenn Berkovitz CAS for putting us in their second unit rotations.

David Barr Yaffe CAS just completed Seasons 2 and 3 of Brothers & Sisters and the ABC pilot Solving Charlie in Atlanta and Savannah and is starting the new Melrose Place with Joe Michalsky and Jessy Bender on the poles.

Mark Hopkins McNabb CAS with boom operators Jeff Norton and Jonathan Fuh are on hiatus from Ghost Whisperer Season 4. We had a great year on the show as we watched the viewing numbers skyrocket by 25% over the season. We’re all taking a well-deserved rest: I’m on my way to Santa Fe, Jeff is going home to Oregon and Jonathan will be at home in Los Angeles, a slave to his video games, wishing a great summer to all our friends of the CAS.

Eric Batut CAS is presently mixing The Boy Who Cried Werewolf, directed by Eric Bross. Boom operator is Danny Duperreault and sound assistant is Triscia Boer. May 8, 2009, will see the release of Next Day Air from Melee Entertainment. Audio post provided by Chace Productions, and mixed at the Rick

Chace Theatre by James Young CAS and Chris Reynolds. Chris also served as in-house sound supervisor. Also from the Rick Chace Theatre, for New Line, now Warner Brothers, Cell 2: The Cusp mixed by James Young and Wade Chamberlain.

Fred Tator CAS and Chris Philp CAS wrapped up post on Season 2 of the ABC Family series Greek and are scheduled to begin Season 3 in July. Starting in May, Fred and Chris will again be mixing the Showtime series Weeds. In the meantime, they are hard at work on a Fox show, Persons Unknown, created by Oscar winner Christopher McQuarrie (The Usual Suspects). The series is shot in Mexico.

Jim Fitzpatrick CAS continues to mix episodes of Family Guy and American Dad at Todd Hollywood Stage

7. (Gigidy!) Jim’s also looking forward to the Family Guy spinoff Cleveland coming in this fall. (Boom goes the dynamite!) He recently completed mixing dialog and music on 16 to Life, with David Raines on effects, directed by Beck Smith. Jim and Lisle Engle, both working from home studios, have just completed the eighth episode of the children’s series Molly Pickens and the Rainy Day Castle for Fantastic World Productions in Atlanta, GA. Jim recently completed dialog predubs for the feature Shannon’s Rainbow.

Mathew Price CAS here in Providence, RI, still waiting for spring and wrapping Empire State, a pilot for ABC. I’ve had the immense pleasure of working with Frank Graziadei on boom and Ryan Baker as second boom/ utility. I’m also very excited to start prepping my next 3D film, Step Up

3-D, the third in the hugely popular dance-movie series for Disney. That will be starting mid-May and going through the end of July. As usual, the always-terrific Timothia Sellers will be my second boom/utility and the eversteady Jason Stasium will be handling the tons of Pro Tools playback that will surely be needed once we all put on our dancing shoes. I just shared the production season of The Unusuals, with fellow member Danny Michael CAS. ABC began airing the show in early April. –Larry Loewinger CAS On hiatus between Seasons 3 and 4 of NBC’s Heroes, Kenn Fuller CAS, Tom Payne, Dirk Stout and Ron Hairston Jr. have just completed the CBS pilot The Eastmans.

Bob Bronow CAS has just finished

mixing the first season of 1000 Ways to Die. Currently mixing the fifth season of Deadliest Catch and the second season of Ax Men. Getting ready to mix the first season of The Colony. From Universal Studios Sound: Here’s what a few of our stages have been up to: Andy Koyama and Chris Carpenter just finished finaling a film for Universal called Cirque du Freak with director Paul Weitz. Up next they’ll be finalizing the narration on The Doors’ documentary When You’re Strange. Chris Jenkins CAS and Frank Montano revved up the stage this year with Universal’s Fast & Furious for director Justin Lin. Up next in the Hitchcock Theatre, Koyama and Montano will mix the feature A Thousand Words for director Brian Robbins. Jon Taylor CAS and Christian P. Minkler have been burning the midnight oil over on

Dub 6. First up was director Miguel Sapochnik’s feature Repossession Mambo starring Jude Law and Forest Whitaker. Director Anne Fletcher is back with the team for her comedy The Proposal for Disney. Michael Olman CAS and Ken Kobett CAS have been slammed over in Studio B. They are currently working on the 2009 seasons of Battlestar Galactica, 24, Desperate Housewives and the great new show from Fox, Lie to Me. John W. Cook II CAS and Peter Nusbaum CAS are over on Studio A mixing NBC’s The Office and Amy Poehler’s new show, Parks and Recreation. They are also mixing The United States of Tara, Kath & Kim, Samantha Who? and NBC’s Worst Week. Needless to say, John and Peter haven’t seen daylight in awhile! Gerry Lentz CAS and Richard Weingart CAS are also keeping quite busy on Studio 5 with NBC’s Heroes and Eureka for the SciFi Channel and House M.D., now

into it fifth season. Before Noon Post has been really busy finishing 40 episodes of Sid the Science Kid for Henson, Tracey Ullman’s State of the Union for Showtime and the latest installment of Futurama: Into the Wild Green Yonder for 20th Century Fox with Peter Cole, supervising rerecording mixer, and Carlos Solis CAS, re-recording mixer.

Steve Nelson CAS adds: Wow, it seems like a year ago that Knox White and Adam Blantz and I finished our last movie, Fast & Furious, recently out. Oh wait, that’s because it was almost a year ago! That’s my way of saying that, for those of you haven’t noticed, it’s been a little slow in movieland. After some odds and ends and day work (thanks everybody!) pilot season, what remains of it, is upon us and Knox and Chris Silverman are with me on Cop House, a

comedy for Fox. After that I’ll do second unit sound for the Iron Man sequel while our business sorts itself out. I hope this happens soon and that everyone survives this strange and unfortunate time and returns quickly to work. On the other hand, I’ve had lots of time on my bicycle! Family news: My wife Janet Walker returned to teaching at UC Santa Barbara after a year sabbatical. She just completed her fifth book, a co-edited volume cheerfully entitled Documentary Testimony: Global Archives of Suffering. (Really, it’s not as grim as it sounds.) Our daughter Ariel is finishing up her excellent second year at Berkeley, majoring in authoritarian and post-authoritarian regimes in Latin America (that’s a major!) and preparing to study in Chile next year. I guess you can tell who’s got the brains in this family. Good luck everybody, I hope you’re enjoying your spring!

After wrapping the Jonas Brothers: The 3D Concert Experience, and the 7.1 Bluray mix, Dave Fluhr CAS is currently working on Tinker Bell and the Lost Treasure for Disney Toons with Kevin Carpenter. Next up will be Surrogates, directed by Jonathan Mostow, and then The Princess and the Frog this summer/ fall for Disney Feature Animation—a Randy Newman musical. Freelancing for the Sundance Channel and WEtv, I’ve been working with their very talented editors and producers on a bunch of promos that are spotlighting some upcoming shows. Some new and very clever programming is coming our way. It’s always a pleasure to be in the saddle, mixin’ away ... especially at Sundance and WE. With best wishes, Joe Deihl CAS, M.P.S.E.

Michael Colomby CAS has been busy mixing the new ABC series Castle,


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USA Network’s In Plain Sight, and A&E’s The Cleaner. He also recently mixed Reaper for CW, an episode of Eastbound & Down for HBO, and a trailer for the upcoming sci-fi action film Counter Effect.

Nicholas Allen CAS just finished a pilot for the Ed Zwick and Marshall Herskovitz Company, Bedford Falls, called A Marriage. It is for the CBS network but produced outside the realm by these wonderful people. After that, off to Berkeley, CA, with Ronald L. Wright (boom operator) to record an NBC pilot Parenthood (yes, like the movie), directed by Tommy Schlamme and produced by Ron Howard. A couple of pickup days on G.I. Joe: Dark Sky before these and that has been the year. Not bad considering, but, boy are we looking forward to Hollywood reemerging as its new self so we can all get back to work. Best to all!

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Paul Zahnley CAS just completed three weeks of editing and mixing for the latest installment of Jean-Michel Cousteau’s Ocean Adventures “Call of the Killer Whale,” a two-hour special that aired in April on PBS. Paul also wrapped mixes on New Muslim Cool for Specific Pictures, Ferlinghetti for Chris Felver, and Training Rules for Dee Mosbacher. On Warner Bros. Re-recording Stage 10, John Reitz and Gregg Rudloff are currently working on Ninja Assassin with director James McTeigue. Up next for John and Gregg is director Martin Campbell’s Edge of Darkness. Ron Bartlett and Doug Hemphill CAS are currently working on Terminator Salvation with director McG, followed by Orphan for director Jaume ColletSerra on Warner Bros. Re-recording Stage 9. On Warner Bros. Re-recording Stage 5, Kevin O’Connell and Beau

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Borders are currently mixing Public Enemies for director Michael Mann. Up next on Re-recording Stage 5, Steve Pederson and Brad Sherman CAS will mix Couples Retreat for director Peter Billingsley. Up next for Kevin and Beau is the pilot Miami Trauma, mixing on Warner Bros. Re-recording Stage 12. Tim Chau and Tim LeBlanc are currently mixing The Hangover with director Todd Phillips on Warner Bros. Re-recording Stage 6. Gary Rogers CAS and Dan Hiland CAS continue to mix Terminator: The Sarah Connor Chronicles and Smallville on Warner Bros. Re-recording Stage 1. They will also be working on the pilots Eastwick, Limelight, V, and Human Target. Todd Grace CAS and Ed Carr CAS are mixing Californication, Chuck, The Mentalist and Surviving Suburbia on Warner Bros. Re-recording Stage 2. Todd and Ed will also be working on the pilots Lightyears and Happy Town.

Mike Casper and Tennyson Sebastian are mixing One Tree Hill on Warner Bros. Re-recording Stage 3. They will also mix the pilot currently titled Super Shark. Adam Sawelson and Doug Davey recently completed mixing the final season of ER and continue to mix The Unit on Warner Bros. Re-recording Stage 4. They will also be mixing the pilots Past Life and The Eastmans. Kathy Oldham is mixing Two and a Half Men on Warner Bros. Re-recording stage 7. Kathy will also be mixing the pilot Two Dollar Beer. Charlie McDaniel continues to have a full schedule mixing According to Jim, The Big Bang Theory, How I Met Your Mother, Old Christine, Rules of Engagement, and Rita Rocks, on Warner Bros. Re-recording Stage 8. Charlie will mix the pilots Absolutely Fabulous, Accidentally on Purpose, Ace in the Hole, Canned, Happiness Isn’t Everything, Pryors, Sherri Shepherd Comedy Pilot, This Little Piggy, The

Renfroe, and the Untitled Jeff Strauss Comedy. Greg Watkins CAS and Mike Babcock are currently mixing The Marine 2 on Warner Bros. Re-recording Stage 11. Up next on Warner Bros. Re-recording Stage 11, Rick Norman and Peter Sullivan will be mixing the pilot Vampire Diaries. Rick will also be working on the HBO series In Treatment on Warner Bros. Post Production’s Remote Re-recording System. Re-recording mixer Matt Vowles CAS is currently working on the new John Wells’ TV series Southland on Warner Bros. Post Production’s Remote Re-recording System. Peter Waggoner and Sean Garnhart recently completed mixing the Sony Television series Damages at Steiner Studios, located in the historic Brooklyn, New York Navy Yard, on a Warner Bros. Post Production’s Remote Re-recording System.•

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ON LOCATION On a location shoot in Ternate, Cavite, Philippines, for Nat Geo UK series Locked Up Abroad. Some of the “Missing in Action” scenes were also shot in this location before. Left to right: Boom operator Jojo Jacinto and sound man Emmanuel Clemente, CAS

Here are some fun photos from location. David Barr Yaffe, CAS and Tim Salmon (Tim’s holding the fishpole).

David K. Grant, CAS mixing in Tofino where people live to surf.

Sedona, my favorite. –Itzhak “Ike” Magal

Joe Deihl, Chris Munro, CAS

and crew in Greenland.


CAS says, “It’s great to be back dle in the sad a ’s It . in a ag r cool day fo ” ’! in mix

b Young CAS on a TV , CAS and Jeff movie in 19 76.

Susumu Tokunow, CAS on location at the Brandenburg Gate in Berlin. 38




St Steve St Weiss, CAS’s mid-life crisis vehicle license plate on the ’03 Vette.

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ewitt girlfriend Kate , CAS and he off to a Broadw ading ay Sardis Restaura party at nt.

Jeff Williams, John Agalsoff, and I, James P. Clark, CAS, are working on the Bruckheimer pilot Miami Trauma.

Main stage mixers Keith Wechsler and Jim Machowski, CAS, guests Paul Marshall, CAS and Kaylee Marshall during Topanga Canyon Earth Day 2009.

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Cas spr09 linked file