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FEATURES Stretching on the Job . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Exercises to reduce stress at work
First Annual CAS Family Picnic . . . . . . . . . . . . . . . . . . . . 18 Members come together in Griffith Park
DEPARTMENTS Presidentâ€™s Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 From the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Technically Speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 A radio bridge to the future
Food for Thought . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 How to get a QC kickback
A Sound Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Multiband compression in post
Been There Done That . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 The Lighter Side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Cover: CAS Family Picnic
THE PRESIDENT’S LETTER
Welcome to our latest edition of the CAS Quarterly. With summer here, I want to pass along my best wishes to each and every member, and their families. We are becoming a tighter knit group, as evidenced by our first annual family picnic, which was held on Sunday, July 15, 2012. In an effort to promote fellowship and fun, we held our first picnic in Griffith Park here in Los Angeles, and it was a huge success. We had an excellent turnout, and all had a good time. We will definitely be having more of those! Speaking of gettogethers—our CAS Seminar event list is fleshing out well, and you will see more events coming your way soon. We are also planning to include our members from around the country and around the world as we reach out to give value to ALL of our membership. These are exciting times, and I am glad to be a part of our growth and expansion. Your Board of Directors is working to provide us all with interesting, informative, and valuable forums to participate in. We will be exploring new mixing techniques and venues, talking about workflow challenges, as well as touring facilities so our members can see the inner workings close-up. I am happy to continue to report that your CAS Board of Directors is working hard in several committees to revamp the footprint of the CAS. We are revising, upgrading and expanding our Awards categories. Last year, we added scoring mixers as nominees, and this year, we are looking to add other mixer classifications as well. Our long-term goal is to honor and recognize all who contribute to a mix. Keep your eyes out in the fall for new information before our Awards go online again. Regarding our social media presence, a couple of months ago we began reworking our website, and now we are taking it a step further to complete the vision of making the website the hub of all our events and information. By the time you are reading this, we will have our new website online. Through social media such as Facebook, Linkedin and Twitter, we will be able to reach out to our membership around the world, and new potential members and students as never before. So with that in mind, my goals are to give our membership true value. We can bring events to our members all over the country and around the world. We are planning seminars and lectures, which can be mobile. I would love to bring a seminar to Europe very soon and investigate the possibilities of expanding our presence overseas as well. Since the world is shrinking thanks to technology, we can take advantage and bring others into our organization as never before. The pooling of ideas and sharing of creative processes is very exciting for our craft. Our education committee is working to offer our student membership seminars and events to help them integrate into our workforce, and learn from professionals. The next generation needs quality information from the people who are in it now—and our group is in the perfect position to lead in this area. In the spirit of “The Advancement of Sound”—we encourage participation from our members. So if you have ideas or suggestions, don’t hesitate to contact us.
CINEMA AUDIO SOCIETY MISSION STATEMENT
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.
CAS SUMMER 2012 NEW MEMBERS Active Bradley Giardiello, CAS John D. Gooch, CAS Stacy Hill, CAS Julian Howarth, CAS James Douglas Johnson, CAS
All the best,
Student Jillian Fueconcillo
David E. Fluhr, CAS President of the Cinema Audio Society
FROM THE EDITORS...
As we make our way through the summer, we hope that the extreme weather hasn’t caused any of your gear to overheat or caused any undo sunburns! Taking advantage of the summer, this issue includes a recap of the first annual CAS family picnic provided by Karol Urban, CAS. Be sure to check out the accompanying photos! Gearing two articles toward our student members, Matt Foglia, CAS discusses an easy way to get a show kicked back in his “Food for Thought” column while reflecting on how digital compression and limiting has led to new level specifications in his “A Sound Discussion” column. James Berek, CAS continues Paul Vik Marshall’s “Using Downtime to Strengthen Your Body” series by discussing strengthening and conditioning approaches. G. John Garrett, CAS discusses the need for, and how to acquire, an FCC license for use with your wireless gear in his “Technically Speaking” column. Finally, as always, you can check in on the happenings of your fellow members in the “Been There Done That” and “The Lighter Side” sections. The CAS Quarterly is produced as a service to our members on a voluntary basis. We greatly appreciate, and want, your feedback and suggestions—so send them in! Email us at firstname.lastname@example.org. We also truly value the support of our sponsors and encourage your commitment to them. Wishing you an enjoyable rest of the summer as we gear up for the fall.
President: David E. Fluhr, CAS Vice President: Mark Ulano, CAS Secretary: David J. Bondelevitch, CAS Treasurer: Peter R. Damski, CAS BOARD OF DIRECTORS
Deb Adair, CAS John Coffey, CAS Edward J. Greene, CAS Tomlinson Holman, CAS Skip Lievsay, CAS Paul Vik Marshall, CAS
Scott Millan, CAS Walter Murch, CAS Lisa Piñero, CAS Randy Thom, CAS Jeff Wexler, CAS
Bob Beemer, CAS Phillip W. Palmer, CAS Sherry Klein, CAS Glen Trew, CAS OFFICE MANAGER
Patti Fluhr EDITORS
Peter Damski, CAS
Matt Foglia, CAS
Peter Damski Matt Foglia PUBLISHER
2013 49th ANNUAL CAS AWARDS TIMELINE
IngleDodd Publishing 11661 San Vicente Blvd., Ste. 709 Los Angeles, CA 90049 QUESTIONS OR COMMENTS:
• Entry Submission Form available Online on the CAS website (eblast notification) Mon., Oct. 15, 2012 • Entry Submissions due by 5 p.m., Fri., Nov. 16, 2012 • Nomination Ballot Voting Begins Online Wed., Dec. 12, 2012 • Nomination Ballot Voting Ends Online 5 p.m., Fri., Jan. 4, 2013 • Final Five Nominees announced Thu., Jan. 10, 2013 • Final Voting Begins Online Wed., Jan. 23, 2013 • Final Voting Ends Online 5 p.m., Fri., Feb. 8, 2013 • 49th ANNUAL CAS Awards Sat., Feb. 16, 2013, in the Crystal Ballroom of the Millennium Biltmore Hotel – Los Angeles, California
Cinema Audio Society 827 Hollywood Way #632 Burbank, CA 91505 Phone: 818.752.8624 Fax: 818.752.8624 Email email@example.com Website www.cinemaaudiosociety.org ADVERTISING:
Dan Dodd 310.207.4410 x 236 Email: Advertising@IngleDodd.com ©2012 by the Cinema Audio Society. All rights reserved. CAS®, Cinema Audio Society®, and Dedicated to the advancement of Sound® are all trademarks of the Cinema Audio Society and may not be used without permission.
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A Radio Bridge
Future by G. J ohn Gar re t t , CAS
If you have not already heard, changes have been happening to the frequency spectrum that sound professionals use for wireless mics and on-set communications. Pretty big changes, actually. The allocation of block 27 above 700 MHz to public safety and other commercial users was just the beginning. Let’s start with some basics, long overlooked. The wireless gear we use involves radio transmission. In the United States, unless it’s a (FCC) Part 15 device, with few exceptions, everyone who transmits a radio signal has to have a license. In the early days of VHF radios, many were in use by television stations and, since the spectrum employed was between the video and aural carriers, may have been covered by the station license, otherwise the station engineer applied for licensing these devices.
Now, I don’t know very many mixers who have gone to the trouble to license their wireless stuff under Part 74, but after this article, I should know many. “What’s the big deal?” you may ask. “I’ve been using these wireless mics for years!” Well, first, it is still a federal regulation that you be licensed, and a field agent could shut you down, confiscate your gear, levy a fine and, ultimately, incarcerate you. Lucky for us, there are 1,774 full-power TV stations, 14,728 full-power radio stations, 10,000 translators, and about 3,500 low-power TV, FM and educational channels for the Commission to worry about (along with ship-to-shore communications, satellites, cable TV, hundreds of thousands of commercial and other government and amateur radios services). So, we don’t represent much of a signal in this noisy environment. But new regulations and spectrum allocations are about to change chhan a ge all of that. The bad news is that there is a plethora of new TV bband devices beginning to use the spectrum we have always alwaays had for wireless mics. The good news is that licensed users usserrs ha hhave ve priority and will be protected. More on that later. You Yo Y oou can apply for a license directly with the FCC by downloading loadding Form lo Fo 601 from the FCC website. But first you need an FCC Number (FRN) which you can get at FCC Registration R https://fjallfoss.fcc.gov/coresWeb/publicHome.do. Along with httpps://fja the 601, you y need Schedule D and H. You can get the 601 at hhttp://transition.fcc.gov/Forms/Form601/601.html. After ttp:// submitting suubm b ittin the forms, you will get an application number that you yoou use to pay the $145 (one time) license fee, and go from there. therre. If all a this makes your head hurt (and, as a part-time broadcast brroa oadcast engineer, it makes my head hurt!), you can have someone som meone do d the detail work for you. Bill Ruck has been doing this for some time and, if you ask me, it’s worth the $100 s too hhave ave hhim deal with the bureaucracy. He’s a broadcast engineer engi giineer in San Francisco: You can find him at 415.564.1450 orr firstname.lastname@example.org. On the Right Coast, there’s billruc Henry in White Plains, N.Y.: 914.686.3524 (office) H nry Cohen He Co email@example.com. Henry also does wireless and henrryc@p two-way management for individuals up to the bigtw wo-way frequency f gest events event you can imagine.
OK, you’ve got yourself licensed, what does that get you? First, it gets you standing. As far as the FCC is concerned, you now exist, and they have to listen to you if there’s a problem from the new users of the TV Whitespace. Next, it gets you real protection. Once you’ve got your license, you will need to register with Spectrum Bridge, www.spectrumbridge.com, a company which has arisen to manage all these TVBDs with a gigantic, real-time database and ensure that our protected use is, well ... protected. You register the TV Channel that your gear operates in, the dates and locations of operation and potentially interfering TBDVs have to make way by changing frequency or going dark during the usage period. From what I can tell, there is no charge to us for this service. I imagine the manufacturers of the new TVBD gear, and maybe federal grants, keep them going. Their Web-based form for registering your use is very straightforward. The problem, of course, is that we don’t always know exactly where we will wind up on location, but the better the location data, the better the result will be. I have not run into any problems with other TVBDs yet, but it’s only a matter of time before some infernal thing puts my ear out. I waded through the FCC paperwork for a while but then noticed that the blood on the wall was my own, so I’ve resolved not to beat my head against it any longer and I’ll be having Henry or Bill do the heavy lifting for me. Pretty soon, I’ll have yet another FCC call sign. •
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Additional reading: http://broadcastengineering.com/hdtv/ spectrum-reallocation-tvbd-0609/ http://www.broadcastlawblog.com/tags/tvbd/ http://spectrumbridge.com/ProductsServices/ASA/ AuthorizedSharedAccess.aspx http://www.695.com/fcc/how-to-apply-for-a-license/ http://jwsoundgroup.net/index.php?/topic/7522-fcc -license/page__hl__bill+ruck__fromsearch__1
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How to Get a QC
by Mat t Fogl i a, C AS
I am the series re-recording mixer for an hour-long cable show. Fun show, love the producers and editors. Sometimes, due to other obligations, I am unable to mix an episode. This happened twice over the last four months. Both times, both shows were kicked back from QC (and mixed by different mixers). After each kickback, the email from the post supervisor went something like, “Hi, Matt—That last show that we had to mix elsewhere got kicked back, saying that the VO was overly compressed and overmodulated. We want to make sure it’s not because of the quality of the original VO. Do you have any settings that we can compare files against?” Naturally, wanting to help the show pass QC, I accessed the original VO files, the VO mix stem and the full mix to see where problems may have crept up. I played the full mix and could hear in a second that the VO (along with most other dialogue) was compressed so much that radio announcers would have said, “Man, that’s pretty compressed.” I have nothing against compression, as it is a great tool—when used appropriately. However, this seemed to be a classic example of what I discuss in this issue’s “Technically Speaking” column; letting a processor “mix” for you. To further analyze how much compression was going on, I created a quick comp track of the show open using the original, unprocessed VO and phased it up against the VO stem.
Looking at the three snapshots, the bottom track is the original, unprocessed VO file and the top file is from the VO stem. Again, these files are totally in phase, so they were originally the same. What we see here is how the compression and limiting is significantly altering the dynamics of the file. Granted, there was EQ added to the file in the mix (most likely, via a multiband compressor/limiter), but the dynamics are significantly changed. Overall, we see a flattening of the dynamic range to the effect that there are very few level differences. If we look at Figure 2, for instance, we see level increases in the middle of “words” that are nonexistent or end up happening at the beginning of the word in the stem file. We can see how attack and release times, and not just threshold and ratio, are truly altering the dynamics of the file. The audio is constantly being reduced—a lot—and, as a result, distortion is introduced. After analyzing these files, without being overly technical, I had to think of a PC way of letting the client know that the mixer was sonically destroying the VO by having a constant high level of gain reduction applied to the file. My reply went something like this: “Some mixers let compressors do the ‘mixing’ for them instead of having their hands and the faders do the mixing. This tends to give the VO or dialogue a somewhat distorted sound with room reverb and room noise popping in louder than it normally would, due to rather aggressive settings.
PROFESSIONAL SOUND EQUIPMENT RENTALS While I won’t give you my compressor settings (sorry), I will say that I do not have constant gain reduction (which is apparent here), I use a moderate attack time, a low ratio and have the compressor just ‘catch’ some of the higher levels. I do the rest of the level adjusts with the fader. No real secret—just actually mixing with faders instead of letting plug-ins ‘mix’ for me.” The client had the mixer adjust their compressor settings so that there was a significantly lighter amount of compression on the VO and then remixed it. Now, some of you may be thinking, “Shouldn’t the producer have caught the poor sound quality to begin with?” In an ideal world, yes, but in reality, it’s a little more difficult. For these two episodes, the producers were called in from outside due to turnaround time demands, so they weren’t used to the “norm.” If you figure that a majority of folks in television have a stronger foundation in picture than sound, many are first exposed to real sound mixing (i.e., on a dub stage or in a mixing suite) once they hit a certain career level instead of at a foundational point (such as in college). Some gravitate toward sound and are really particular with it while others are only concerned that you can hear the door shutting sound effect when the door shuts and that the profanity is beeped. With limited turnaround times for many shows, it becomes difficult for younger producers to really learn about sound—as they spend more of their time trying to deal with exec notes, legal and timings. So while it seems logical that producers should be sound experts too, it’s just not the common reality. This is why sound professionals need to do what they can to educate their clients and provide the best mixes that they can in the time allotted. This will keep producers’ ears open to quality mixes. Of course, it helps if the sound mixer actually knows what they’re talking about when educating! To that end, this is why, with notes coming in a week after they were due, and a delivery deadline pushed up, I will be up all night tonight and all day tomorrow mixing the next episode of the series as the producer wants to “avoid mixing up here at all cost.” Kind of makes you feel all warm and fuzzy inside, doesn’t it? •
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Multiband Compression in Post
and the Rise of a New Standard by Mat t Foglia , CAS
I was first introduced to multiband compression by Grammywinning music mixer Michael Brauer (mbrauer.com) in the ’90s when I was assisting on the post side of a project he did the music mix for. He would separate the pieces of the mix into different groups based upon their frequency make-up (calling the technique “multi-buss compression” since the groups were bussed to different compressors). The idea being that a compressor reacts to different frequency bands, well, differently and, therefore, the spectrum should be divided up into different bands (or groups) for more effective dynamic control (drums & bass, vocals, etc.). If you’ve ever held up an SPL meter outdoors in relatively calm conditions and watched the needle move, but didn’t really “hear” what the meter was displaying, then you can understand how frequency bands can trigger different results in a compressor. Low frequencies push the air “harder” than higher frequencies. If you put the full mix into one
t.c. electronic Finalizer
compressor, the lower frequencies will, most likely, dominate the compressor’s reaction, thus affecting the higher frequency representation. On the music side, this multiband approach can provide increased dynamic control prior to running the full mix through a stereo compressor for a lighter, overall compression. In post, our DME routing allows us to apply a variation of this: compressing the dialogue differently from effects and effects differently from music prior to a final bus compressor. This approach worked great in the days of analog compression but was then exploited to the nth degree with the introduction of digital multiband compression/limiting. I remember working at Sony Music Studios when we purchased our first TC Electronics Finalizer. This was, I believe, the first digital multiband compressor. The genius of the device was that you could also set the compressor to act as a hard limiter—allowing you to hit that new “digital” -10 dBFS
spec that popped up in the States. We had a blast with the device—shoving as much signal into it as we could—and it still didn’t go above -10! Amazing! We could alter three bands independently without worrying about going over -10. While things may have gotten a little crunchy sounding when pushing the input levels too far, it sure was a fun device! I think each of the mixers used it on one episode of one show and then we took it out of our signal chain so that we could have the dynamic range that the clients were used to. We were able to not become reliant on the device because we learned to mix in the analog world. Sure, we used digital audio workstations (ScreenSound, AudioFile, Pro Tools) and digital consoles, but we all learned to mix using analog meters and had to lay back to analog video tape. When the next generation of mixers moved up the ranks, this association to analog seemed to be replaced with a focus on the -10 dBFS spec—which the digital multiband compressors/limiters (now available as plugins) handled just fine when inserted across the master mix bus. Having the ability to “push” a mix to louder perceived levels, while not going above -10 dBFS, led to discontinuity in overall mix loudness levels—even though the levels may have been “correct.” Many mixers were able to use these devices in a manner true to their original mix approach, using the processor to enhance the mix. However, many used them as a crutch—having the multiband compressor do the “mixing” for them. (I’ve
actually witnessed folks importing an OMF/AAF of a series they’ve never worked on into their template with a multiband compressor/limiter engaged across the mix bus and go from there—not even trying to hear what the original levels of the source signals were!) While this type of loudness discrepancy became known as the “loudness wars” in music (and allowed every music mixer to, apparently, become a mastering engineer), it also affected television broadcasts. Viewers complained about commercials being too loud and programs being at different levels. This, in turn, led networks to realize that two mix references weren’t doing the job (VU and dBFS), so a third was needed. Enter the Dolby LM100 Loudness meter, which became used by many networks to reduce the “auto pilot” reliance on these devices by many “mixers” and to help maintain “quality” broadcast mixes. Now, years later, we have the CALM Act that is trying to bring our mixes back to the loudness levels of our analog days (i.e., generally consistent levels across the board). While I’m not a huge fan of mandates and don’t really love mixing with an LKFS target, I do consider this a good step. Hopefully, it will help reveal the true mixing talent of some of those who rely on processors to “do” the mix for them while reducing the amount of sub-par mixes present on some television channels. •
Stretching ON THE JOB Mixing sound can be a physically demanding career. We lift too much, and then we sit too much. Repeating these tasks daily, loading equipment, as well as repeating precise hand movements causes stress injuries. Sitting for extended periods can also lead to many health issues, so it is important to work to counteract these habits. 14
Part 2 by Ja m e s B e r e k , C A S We’ve all heard that we need to stretch, move around and have good posture, but we might not all know how. In order to find out more specifics, I interviewed someone that deals with a lot of those ailing with film-related injuries. Patricia Williams, massage therapist for the Ojai Valley Inn and Spa, gave me a lot of good advice on how I can work to maintain a healthy body while doing the job I love. I know you have heard to lift with your legs, but it is also important to keep that weight close to your core. Patricia recommends staying close to your gear, reducing the space between your body and the load. This will reduce the effort for your back and makes the act of lifting easier and more comfortable. Face your gear, keeping your body in one plane of movement. This will reduce any chance of starting a lift from a twisted position. Most importantly, don’t overdo it! You might be able to lift that cart in today, but can you do it five days a week for the rest of your career? Get help when you can or break things up into smaller loads.
It is common for people to crane their neck toward a monitor. This will cause tightness in the neck and shoulders. Patricia highlighted posture as a key issue stating, “It is common for people to crane their neck toward a monitor.” This will cause tightness in the neck and shoulders. Eventually, it will cause rounding in the shoulders and tightening of the chest muscles. Keep your back straight and your chin up, with your ears inline with your shoulders. It may be necessary to modify your cart or arrangement at your mixing console to allow for better posture. Patricia also emphasized the importance of drinking water. “Water is detoxifying, which helps flush out impurities in muscle tissue.” This helps protect against protein breakdown in the muscle tissue. While Patricia provides therapeutic massage to help blood flow and release tight and achy muscles, she encourages preventing the need for regular body work by stretching. Stretching does just that; lengthening and aligning muscle fibers, increasing blood flow in the muscles, and relieving tight joints. It is always best to stretch while your body is warm, so midday would be a good time. Remember to take deep, slow breaths while stretching.
While seated, start with your head in a comfortable, aligned position. Depress your right shoulder; keep intelligence in your right arm by actively reaching toward the ground, have your arm slightly extending from your trunk, wrist aligned with arm and fingers kept together. Reaching over your head, use your left hand to cradle your right ear. Slowly tilt your head toward your left shoulder. Hold for 10-20 seconds. Feel a nice, even stretch in your neck. Breathe. In that position, gently guide your head down to your chest and hold for 10-20 seconds. Then, when ready, slowly tilt your head toward the ceiling. Hold for 10-20 seconds. Gently release and breathe. Repeat on the right side.
Reaching your left handd toward your right shoul-der, grab your left arm justt above the elbow and gentlyy pull your elbow toward yourr opposite shoulder while youu gaze over your left shoulder.. Hold it for 10-20 secondss and then repeat on the oppo-site side. Lift your left arm up andd grab your left elbow withh your right hand and gentlyy pull behind your head. Holdd it and repeat on the otherr arm.
Next, relax your arms and turn your head toward your left shoulder, then stretch your neck by reaching your chin toward your shoulder. Hold tension for 10-20 seconds and repeat facing your right shoulder. Shoulder rolls are easy and help loosen your upper back and chest muscles. Raise the top of your shoulder toward your ears until you feel a slight tension in your neck and shoulder. Roll your shoulder in a relaxed state toward the front of chest, roll all the way through three times and then reverse the move.
Inte Interlace your fingers, then turn your you palms upwards toward the ceiling and straighten your arms ceil reaching for the ceiling. Hold reac this position, then continue this stretch by reaching in front of stre you, palms facing away from you you and hold for 20-30 seconds.
Make a habit of stretching, drinking plenty of water, and taking care while lifting equipment. Donâ€™t forget to get up and walk around.
Yo can stretch your hands and You forearms by reaching forward one fo arm at a time, facing your palm outward, wa fingers together, pulling back gently on your fingers with your ge other hand. This should be done ot with your palm facing outward, finwi gers up, and then outward, fingers ge down, holding for 10 seconds in do each position. ea
Now, while standing, fingers interlaced behind your head, keep your elbows straight, extended out to your side with your upper body in an aligned position. Pull your shoulder blades toward each other to create a feeling of tension through the upper back and shoulder blades. Hold this for 10 seconds and repeat four times.
Next, interlace your fingers behind your back and rotate your palms away from your body and elongate your arms to pull against your shoulders. This will stretch your chest, shoulders and arms. Hold this for 10-20 seconds and repeat twice.
Once you practice these stretches, you will find that they are easy to perform while at work. Make a habit of stretching, drinking plenty of water, and taking care while lifting equipment. Donâ€™t forget to get up and walk around whenever possible during your shift, and consider a more extensive stretch and exercise regiment outside of work. Getting a massage once a month is helpful to reduce stress, increase blood flow, and release tight muscles. â€˘
CAS Family Picnic
The First Annual
Is a Big Success! b y K a ro l Ur ban, CAS
The events culminated around 4 p.m. with raffle prizes, including wine glasses, CAS bags, iTunes gift cards, squirt guns and much more.
On Sunday, July 15, 2012, a crew of CAS members and supporters pulled together to throw the very first CAS Family Picnic, bringing members and their families together to enjoy a lovely sunny summer afternoon. The event was held at Park Center in Griffith Park in a tree-covered area overlooking the merry-go-round and tennis courts. Children made fast friends, and everybody greeted Jackie, a certified therapy dog, along with her handlers, Warwick Kane and Adam Sperry, CAS, when they arrived to the picnic. CAS QUARTERLY
A tug-of-war competition started off the day’s activities with the production mixers squaring off against the post mixers. Round after round, production was standing proud holding the rope. But in the last round when teams were finally mixed, a few post mixers got to stand tall. Scheduled games continued throughout the day including a beanbag target toss, ping-pong ball roll, hula hoops, a water balloon toss, blind squirt-gunner, badminton, horseshoes, a limbo competition, and two hilarious piñata rounds: one for the children and another for the adults (although, the kids won out in both rounds). Additional activities such as a full game of volleyball, commenced as people let their hair down, reunited with co-workers, and made new friends throughout the afternoon. Board member Paul Vik Marshall, CAS was not only responsible for organizing the event, but also acted as emcee throughout the day. Adam Sperry made sure that everyone kept active throughout the day by planning and providing the equipment for the activities. Solar On Set provided
two “RayCatchers” complete Wi-Fi solar-charging stations which provided enough power to amplify a mix of music and announcements for the five-hour-long event. Ultimately, 87 members, spouses and children enjoyed the catered meal provided by Tacos Mi Rincon Tapatio, which sizzled up freshly cooked marinated pork, veggie, beef, and chicken tacos and quesadillas. The events culminated around 4 p.m. with raffle prizes, including wine glasses, CAS bags, iTunes gift cards, squirt guns and much more. The grand prize of a portable solarcharging system was won by Warwick Kane, who exclaimed, “I can’t believe I won... We never win these things!” All in all, the picnic was a great success. It was such a pleasure seeing such an incredibly accomplished and talented group meet and have time to get to know one another. Don’t expect this to be the last CAS picnic. Check the CAS’s newly redesigned website for more upcoming events and join in on the fun! •
Son of a plug on. 28 years and six generations of plug on wireless transmitters. Recognize any of these?
Made in the USA by a Bunch of Fanatics
Richard Lightstone CAS and boom
operator Jeff Norton are teamed up in Savannah, Georgia, with local utility Tom Doolittle on Randall Miller and Jody Savin’s CBGB, starring Alan Rickman, Ashley Greene, Malin Akerman, Stana Katic, Rupert Grint and Richard de Klerk. A look back on the groundbreaking 1970s New York club that helped start the punk scene.
Jamie Scarpuzza CAS, along with Ron
Ayres (boom) and Neal Garon (utility), are working on the feature Jimmy Picard.
Robert Sharman CAS and his crew, Aaron Grice and Michael Kaleta, have just concluded a 30-episode Season 1 of ABC Family’s Switched at Birth, which began shooting in April of 2011, and included two hiatuses. Dave Yaffe CAS joined them toward the end of the season for a few days of 2nd unit. The same team is about to start NBC’s Go On, starring Matthew Perry. Both shows are scheduled to air in the fall.
Philip Perkins CAS completed pre-
dubs and then acted as the cheering section for Scott Kramer at Wildfire Post LA for the high-speed mix of the indie feature Griffith Park 8. Among other gigs was the TV remix of 50 Year Old Freshman (PBS) and production sound for Dyanna Taylor’s ongoing doc about Dorothea Lange, Grab a Hunk of Lightning.
Sylvain Arseneault CAS is off to
Bucharest, Romania, and to the south of France to work on The Heretics, a series taking place in XIIIth-century France. Michael Kearns is the boom op.
Geoffrey Patterson CAS completed the filming of Seven Psychopaths with Woody Harrelson, Christopher Walken, Colin Farrell and Sam Rockwell, and is now off to Michigan to do an untitled tornado movie, the more modern-day version of Twister. Robert Wald CAS writes: Hello to all! Well, I’m still a CAS and a Local 695
member in good standing but, as many of you know, I haven’t been working in sound for the past year and a half. I’m a licensed realtor doing real estate referrals, and I own an online marketing company, which promotes fitness products. I’m also training for my commercial helicopter pilot license. My wife Suzanne is the costume supervisor on the hit CBS TV series Two Broke Girls. Have a good summer, everybody!
Sherry Klein CAS and Lisle Engle are working on Season 6 of Burn Notice on Larson Sunset Stage 3. They have just completed Home Alone 5, a MOW for ABC Family. Next up, Sherry and Lisle will be mixing The Americans, a new pilot for FX. Sherry and Brian Harman are mixing Sons of Anarchy Season 5 at Smart Sound Post Sound in Burbank. From Universal Sound: Chris Jenkins and Frank Montaño have been busy temping WB’s Autumn Frost with sound supervisor Scott Hecker. Up next, mixing the feature Broken City, with sound supervisor
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Steve Williams for director Allen Hughes. Kevin O’Connell has been busy breaking in the newly remodeled Dub 6. First up, A Belfast Story, mixing with supervisors Kami Asgar and Sean McCormick, followed by Ric Roman Waugh’s Snitch for Summit Entertainment. Kevin and Bob Beemer CAS start the mix for Pitch Perfect for director Jason Moore and Gold Circle Films. Jon Cook CAS and Peter Nusbaum CAS are in Studio A mixing Men at Work for Sony and Good Luck Charlie for the Disney Channel. Rusty Smith and Eddie Bydalek are mixing Arthur Newman, Golf Pro with director Dante Ariola for Vertebra Films. Pete Reale and Todd Morrissey are currently mixing the second season of Suits for USA in Studio G. Mix team Joe DeAngelis and Rob Carr are mixing the addicting fast-paced Web series Daybreak for RSA Films. Nello Torri CAS and Alan Decker CAS are mixing Covert Affairs and Psych, both for the USA Network. Elmo Ponsdomenech and Bob Edmondson CAS are at Dub 1 mixing Necessary Roughness for USA.
John Rodda CAS adds: I’ve most recently been working on The Scapegoat, directed by Charles Sturridge and based on a Daphne du Maurier story of mistaken identity. Set in 1952 as England prepares for the coronation, The Scapegoat tells the story of two very different men who have one thing in common—a face. Following that, we shot Shakespeare’s Henry IV Parts 1 & 2 for BBC Television, directed by Sir Richard Eyre and starring Jeremy Irons, Tom Hidleston, Simon Russell Beale & Julie Walters. Michael Keller CAS and Mike Prestwood Smith finished mixing Oliver Stone’s Savages at Lantana Stage 2. Christopher Barnett CAS and Gary Bourgeois CAS are finishing up the HBO series Witness for Michael Mann, premiering later this year.
Eric Batut CAS will mixing Season 5 of Fringe. Boom operator will be Millar Montgomery and sound assistant will be Simon Bright. Season 5 of Sons of Anarchy is off to a roaring start with Brett Grant-Grierson CAS mixing, Josh Bower on boom and Tanya Peel CAS QUARTERLY
on second boom/utility. This is a tough show with a large cast, but the crew meets the daily challenges and makes it easy.
Joe Foglia CAS has made his way down to a small town in Griffin, Georgia, shooting a six-episode series for the Sundance channel called Rectify. The producer of Justified, Don Kurt, and writer/actor Ray McKinnon are making this small story based on this tiny town. Our team is boom Scott Solan and utility Mike Sansom from Georgia. So far the hottest it’s been is a mere 109 degrees and 250% humidity. Lots of fun for wiring up the actors! Gary Bourgeois CAS (now with Todd-AO) has been mixing Witness, a documentary series for Michael Mann. Gary is now in Vancouver mixing Santa Pups for a Christmas release. Joe Earle CAS and Doug Andham CAS will be kicking off the fourth season of Glee for Fox Television on Stage 6 at Technicolor/Paramount. The two will follow up with NBC’s The New Normal, as well as the creepy FX thriller American Horror Story. David Wainwright CAS and Jim Bigwood CAS were awarded Emmys by
the NATAS National Capital Chesapeake Bay Chapter in the Audio Crafts category for their work recording, editing and mixing the Morgan State University Choir: Lift Every Heart concert special for Maryland Public Television.
Frank Morrone CAS and Eric Apps are mixing Copper for Barry Levinson at Deluxe. For the Love of the Music, an independent theatrical documentary featuring unreleased historic recordings and new performances and interviews with Joan Baez, Bob Dylan, Geoff and Maria Muldaur, Judy Collins, and lots of other 1960s folkies, is currently doing the festival circuit. Kevin S. Parker was lead production mixer and Jay Rose CAS was supervising sound editor and re-recording mixer.
Steve Morantz CAS has had a great 2012 so far. Completed Season 4 of Parks and Recreation, with the help of boom operators Dirk Stout, Noel Espinosa, Craig Dollinger, and Mitch Cohn as utility. Started the pilot Ben and Kate for FOX, with Adam Blantz and Peter Hansen, filled in on the features Get a Job and Stand Up 26
Guys and am in the process of mixing the feature film Runner, Runner in Puerto Rico with boom operator Adam Blantz and utility Luis ‘Peco’ Landrau. Then back to Season 5 of Parks and Recreation.
John Pritchett CAS and crew, boom
Dave Roberts and utility Kay Colvin, finished The Amazing Spider-Man last December and were excited to see the records it broke with its summer release. Big kudos to director Mark Webb, et. al., for making that happen. John, along with Dave and utility Ryan Putz, just spent a sultry spring and summer in NOLA on Seth Rogen’s directorial debut with The End of the World, a crazy apocalyptic romp in which all the actors play themselves or, rather, caricatures of themselves at their worst. It stars Seth along with Craig Robinson, James Franco, Emma Watson, and Jonah Hill, to name only a few. John’s next project is the romantic comedy Saving Mr. Banks for Disney, with Tom Hanks and Emma Thompson and directed by one of our favorites, John Lee Hancock.
Tom Marks CAS and Gary Bourgeois CAS finished the mix for Missing Child. Tom Marks and Resul Pookutty CAS completed the mix for Gandhi of the Month at Todd-AO West. Marks and Fred Paragano mixed The Sibling for director Matt Orlando on Stage 2 at Todd-AO Burbank. Gavin Fernandes CAS has been mixing the miniseries Red Brazil at Technicolor Montreal. After that, he will pre-mix the French film Jappeloup in Montreal before heading to Paris to final mix. À bientôt, mes amis. David Bondelevitch CAS has been
nominated for two Heartland Emmy Awards for his work on the documentary Above the Ashes, one as re-recording mixer, and the other as associate producer. The film is an award-winning documentary that shows devastation caused by a catastrophic fire that ravaged the mountain communities near Boulder, Colorado, and destroyed hundred of homes. (Editor’s note: David won the Emmy for this work.)
Andy Hay CAS recently completed the
as yet untitled Drake Doremus project for Indian Paintbrush as supervising sound editor/designer and re-recording mixer. Up next is supervising and mixing White Room: 02B3 for Roddenberry
Entertainment—the world’s first narrative film to be shot and exhibited in a completely 360-degree immersive dome environment.
Martin Talty CAS just finished his 10th consecutive cycle of America’s Next Top Model. As you read this, I’m back on Grey’s Anatomy for Season 9. I’ve been blessed and lucky to have had such a long-running show. Don’t knock episodic TV! I was able to stay in town and watch my kids grow up! My daughter Rebecca has graduated from Immaculate Heart High School and is starting at Whittier College with a scholarship. Because of Grey’s, I could take her to school every morning on the way to Prospect Studios. A big thanks to last season’s crew, Derrick Cloud and Anna Wilborn, and all of the crews that came in on the double-up days. During this hiatus, I helped out Michael Krikorian CAS on the indie feature Blood Ransom and had a fun time on the AFI short Six Letter Word, with Sara and John Evans. But the best fun, thanks to Glen Trew CAS, was working on the Hulu.com show called Spoilers With Kevin Smith. A complete hoot! Onward! –Beau Baker CAS Texas member Andrew Garrison CAS (production mixer) from Austin, directed the feature documentary Trash Dance. The film received a Special Jury Recognition at its premiere at the SXSW Film Festival and went on to win the Audience Awards for Best Feature at both the Full Frame Documentary Festival and the Silverdocs Film Festival.
Ron Bochar CAS spent the spring mixing Bachelorette, directed by Leslye Headland for Radius TWC to be released September 7, 2012, followed by Redemption, a documentary for HBO. Steve Weiss CAS and his team of Chris
Tiffany on boom and Denis Carlin utility just wrapped the remake of The Munsters TV pilot for NBC/Universal titled 1313 Mockingbird Lane. We look forward to beginning Season 3 of ABC’s Body of Proof, starring Dana Delaney at Disney Studios in August. Hello everyone: Worked with a few singers this quarter: Robin Thicke for Duets promos and Michael Buble for a commercial. Recorded audio on Val Kilmer’s one-
man theater show Citizen Twain—pretty funny. I did some more traveling—11 days on an hour pilot A Place in the Sun—shooting all over Panama. Managed one feature, In the Dark, with Shannon Elizabeth, who gets impaled at the end— oops, did I give it away? Did Disney’s Friends for Change, BTS on Total Recall and Perks of Being a Wallflower and just finished 2nd unit mixing on Jobs— the Steve Jobs story, thanks to Duke Marsh—I owe you! –James Ridgley CAS After completing Season 3 of Modern Family, Stephen A. Tibbo CAS mixed pilots 1600 Penn and Rebounding for Fox. Dan Lipe, Preston Conner, and Srdjan Popovic swung booms. During hiatus from production sound, Stephen put on his post-production hat and rerecorded independent features Firefall and Roadside, along with a number of shorts, Web series and commercials. So happy to be able to return to Season 8 of Bones, with boomers Cary Weitz and Frank Zaragoza. –Susan Moore-Chong CAS Hello from Associate member George Flores. Boom operator Colin Campbell,
utility Alexis Schafer and I began 2012 with the back-nine episodes for the CW’s Ringer and then to a Fox-ABC pilot, Awesometown. Shout-outs go to Glenn Berkovitz CAS and Felipe Borrero CAS for their help and technical expertise on Ringer. Back to Season 8 of It’s Always Sunny in Philadelphia at the end of July with Mr. Campbell and Daniel Quintana, while Mrs. Schafer heads over to The Middle. Thanks to Kenn Fuller CAS, Phil Palmer CAS and Tom Stasinis CAS for their 2nd unit invites and allaround support.
Ken Novak CAS has been busy at Larson Studios mixing Wipeout for ABC and The Great Escape for TNT. When he’s not mixing, Ken serves as den master to a great group of the Troop 84 cub scouts. The boys even had a den meeting at Larson this year, where they got to see how Wipeout is mixed and got to record their voices for the show. They were thrilled! From Sony Post-Production: Paul Massey CAS and David Giammarco are currently working on Total Recall in the Cary Grant Theater. Deb Adair CAS and Bill Benton just finished Leather CAS QUARTERLY
Heads in the Anthony Quinn Theater. Jeff Haboush CAS is pre-dubbing for Hotel Transylvania. In the Kim Novak Theater, Tom Meyers is pre-dubbing EFX’s Hotel Transylvania. We are very excited to welcome Bobby Edmondson CAS and Frank Morrone CAS. Bobby will be working with Rusty Smith on Dub Stage 6 in HBO’s Enlightened, Justified for FX, and 90210 for CBS. Frank will be working with Todd Beckett on Dub Stage 7 for ABC’s Last Resort. On Dub Stage 12, Fred Tator CAS and Bill Jackson CAS will be working on How to Live With Your Parents Forever for 20th Century Fox, Made in Jersey for CBS, and House of Lies for Showtime. On Dub Stage 11 with Mark Linden CAS and Tara Paul CAS, The Simpsons returns for its 25th season for 20th Century Fox.
Scott Harber CAS just recently finished Season 2 of Wilfred for FX, which
was a joy to participate in. Ben Greaves and Tula Snoeck were invaluable and rock steady as we delved into the subconscious world of a man and his best friend/worst enemy. Great crew and a well-written and run show behind Randall Einhorn and David Zuckerman. So now we are heading
into Season 5 of Castle for ABC, helping out until Ron Cogswell comes back. John Agalsoff Jr. and Ben Greaves will make things run well over there. Between those shows have been many commercials and promos for Chevy and FX and pickups for the feature Gangster Squad. Here’s to a great finish of 2012! Last winter at the Warner Bros. Eastwood Scoring Stage (3/2011), I participated in a remarkable effort by the scoring community, to raise awareness and funds for the victims of the Haitian Earthquake of 2010. A Symphony of Hope: The Haiti Project was recorded as a musical chain letter of hope and support. Twenty-five Hollywood composers contributed to a five-movement symphony based on a Haitian melody. The crews, musicians and support staff at WB, all donated their time and expertise. The project directly supports Hands Together, a long established charitable organization for the people of Haiti and victims of the Haitian Earthquake. An audio CD is due fall 2012, live concert performance (8/2012) and documentary DVD (9/2012). I’m associated with and was a key designer of a new semi-private film scoring/composer studio, Sonic Fuel. –Jeff Vaughn CAS
Edward L. Moskowitz CAS and crew have successfully completed Season 1 of the new FX Charlie Sheen series Anger Management.
In Colorado, Dave Schaaf CAS recently wrapped on an untitled terror movie. Boom operators were Jessie Marek and Jesse Yadon.
Mark Rozett CAS and Kelly Vandever have teamed up once again at Monkeyland Audio to re-record Code Name Geronimo, for release this fall from the Weinstein Company. Afterward, Mark moves over to Post Haste for Victor Salva’s Haunted, with Lisa K. Fowle handling the FX side of the board. Then it’s two solo gigs—Kelly doing Coffee Town and Mark on Writers, before they reunite once again at Monkeyland for Project Blue Book. From Alex Riordan CAS: I just wrapped on the second season of Boss for Starz. I couldn’t have done it without my awesome crew of boom operator Kevin Summers and utility & second boom Adam Mohundro. Also helping us out were utility Eric Anthony, Courtney Baca (sound intern) and the one and only
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Bartek Swiatek CAS (nominated for a CAS Award last year), who graciously came back to Chicago to get me started. Woody Woodhall CAS has been keeping busy with television this spring and summer. He supervised, sound-edited and mixed the first season of Mystery Diners for Food Network as well as the first season of a new music biography series, Popped, for Fuse TV. He has begun supervising sound editing and mixing a new series for Logo called In the Big House, following an ex-mobster from Philly who moves west to run a gay bar with his son in West Hollywood. He is also halfway through supervising sound editing and re-recording mixing the third season of Storage Hunters for truTV. His professional organization, the Los Angeles Post Production Group (LAPPG.com), continues to grow and has just passed their four-year mark. The LAPPG is a group devoted to all aspects of post-production with a worldwide membership. Find us online and on Facebook and join the conversation! Jon Ailetcher CAS has had another busy start to the year. After finishing up Season 3 of Cougar Town with Mark Jennings booming and Laura Rush handling utility duties, Jon went to Sony to do Season 2 of Breaking In for FOX with Dave Hadder and Mike “Fuzzy” Anderson. Now for the fall season, Jon, along with Adam Blantz and Mike Anderson, will be tackling Season 4 of Community. Hope everyone has a great year.
Over the last quarter, Steve Bedaux CAS has continued to work with ABC News, World News Tonight and 20/20 in addition to CBS This Morning, Sunday Morning and Evening News. Additionally, Steve has mixed on various TV specials including Disney’s California Adventure Cars Land Grand Opening, Muay Thai Xtreme Kick Boxing and Great Courses With Chef Bill Briwa for DVD. Steve is also excited to announce that construction on the new CineLUX Sound Services Inc. building at 4300 W. Victory Blvd. in Burbank is finished and the move is complete! Be sure to stop by any time and check it out.
Dick Hansen CAS is working on Ain’t Them Bodies Saints, directed by David Lowery. The film is about a legendary outlaw who breaks out of prison to reconnect with his wife and his child whom he has not yet met. The film stars Rooney Mara, Casey Affleck, and Ben Foster. Betsey Lindell is booming the film. Carl Rudisill CAS has had a lot to do this summer. Earlier in the year, he began sound mixing for The Conjuring, a thrilling film
set in the ’70s, directed by visionary writer/director James Wan, who previously helmed the features Saw and Insidious. Chris Main and Albert Hedgepeth joined Carl in the endeavor to capture the chilling, life story of paranormal investigators Ed and Lorraine Warren. The team really enjoyed working with Mr. Wan and the rest of the crew. The movie’s first screening was in July. Now, Carl and Chris Main are teamed up again in Southport, North Carolina, recording sound for the new feature Safe Haven, directed by Lasse Hallstrom, based on the Nicholas Sparks novel. While filming in the heat of the summer has been challenging, Carl and his crew have kept water on hand and the microphones recording. In addition to working on Safe Haven, Carl has also sound mixed in Wilmington, North Carolina, filling in as second unit sound mixer for the Iron Man feature, Caged Heat. ADR has wrapped up Season 6 of Army Wives and completed ADR with North Star Post and Sound, Inc. It has been a pleasure for Carl and his company to work with UPM Barbara D’Alessandro and wishes the best for all the Army Wives crew in the future. The studio
at North Star Post and Sound has recorded ADR and voiceover for many wonderful talents this year. ADR and voice recordings include HBO’s Parade’s End, HGTV’s The Great Rooms, Hawaii Five-O, The English Teacher, To Have and to Hold, and many more.
Karol Urban CAS completed the mix on William Shatner’s most recent feature documentary Get a Life, which debuted at Comic-
Con before launching on EPIX. She is also busy mixing a series called My Gimpy Life, which launches on July 31. Additionally, she has been working for FX at the FOX lot, mixing many of their campaigns for their new programming including Anger Management and Brand X with Russell Brand.
Paul Vik Marshall CAS announces the First Annual CAS Family
Picnic was a great success. Fun was had by all who attended. I would like to thank the following for their support and hard work—Jessie Spence, Adam Sperry CAS, Warwick Kane, Dorothea Sargent, James Berek CAS, Michael Eagle-Hall CAS, R.D. Floyd CAS, Paul and Wendy Romo, Patti, Nick and David Fluhr CAS, Patrushkha and Molly and Mark Ulano CAS
Craig Berkey CAS has been juggling a few different projects
recently that have a wide creative range. He recently finished up mixing Terrence Malick’s latest film To the Wonder in Austin, Los Angeles and Vancouver. He is currently in London mixing Joe Wright’s period piece Anna Karenina at Halo in Soho. When he returns to Vancouver, he will dive right in to Neill Blomkamp’s sci-fi film Elysium.
Bob Bronow CAS just finished mixing Season 8 of Deadliest Catch. He is looking forward to starting up on Season 6 of Ax Men.
aux, Steve Bedater
CAS and M k time uic taking a q ing at ix m m o out fr g day the openin at nd of Cars La fornia ali Disney’s C . re tu n e Adv
Our last day of shooting on Boss. From left: Alex Riordan, CAS (mixer), Kelsey Grammer, Kathleen Robertson, Eric Anthony (utility & 2nd boom), Courtney Baca (sound intern) and Kevin Summers (boom operator).
Marty Talty, CAS with a PA system for a location shoot in Jamaica. The local company providing the system was called “Full Clip.” It was an interesting shoot.
Robert Sharman, CAS (center) and his crew, Aaron Grice (left) and Michael Kaleta (right), enjoy a relaxing day of mostly sign-language scenes on ABC Family’s Switched at Birth.
L to R: Kelly Stewart (boom operator),
John Rodda, CAS (production sound
: Being iso rv sound supe ing boom Factor means swing ch as mu as a jav and sipping am Tash. Ad o: ot Ph le. ib ss po
adds Daniel McCoyr fo r The X
mixer) and Lewis Crutch (sound utility) on The Scapegoat.
Keeping alive a great Hollywood tradition of fathers and sons working together on the same set during production of season one of Anger Management are Charlie Sheen, Martin Sheen, Edward L. Moskowitz, CAS and Eli Moskowitz. 30
vak, CAS showin g Troop 84 th and outs of m e ins ixin to get them st g Wipeout—never too early arted!
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