CAS Quarterly

Spring 2019

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24 S P R I N G 2 0 1 9 C A S Q U A R T E R L Y to work for years on some really great films for Wayne." They also worked on director Wes Anderson's previous films, Moonrise Kingdom and The Grand Budapest Hotel. I asked Peter if there were any challenges unique to the film. "There's a scene of Atari getting out of his plane that was super fun to do. The first sound we did was the feet getting out of the plane. As I heard the first step and it sounded like that plane, the rest was just plain fun. Atari's shoes were a bit of a challenge. We knew Wes wanted something very distinct. I'm not sure what Steve used, but it came from his bag of pixie dust." Peter uses an older API rack mount console and Pro Tools. "I tend to stay 'out of the box' with my gear," Persaud added. "Foley in Canada has always meant matching sync to picture off the floor. Whenever we use plugins, it is to add more delay to Steve's live performance, so I run a lot of outboard gear and just use the Pro Tools for recording. There's something about reaching for a piece of gear that is still fulfilling. "We record with a different style than some artists," he continued. "We like to record all the feet first, like a drum track. Then we do all the props and try to make it just 'fit' into the environment in the scene, and then the cloth. For some reason, we try to keep to around 24 tracks, maybe it's because of working with tape. So it's usually one track for cloth, nine tracks for feet, and the rest for props. "I don't really use plugins too much, but I have been using iZotope's Neutron. I use the Transient Shaper here and there. It sounds to me like it's doing something." Asked if he would like to thank anyone who worked with him, he replied, "First off is Steve Baine of course. Steve and I have our own studio called Foley One. Gina Wark is our assistant and babysitter. Wayne Lemmer as always, a big thank you!" XAVIER FORCIOLI: Scoring Mixer Xavier studied in Paris and obtained a master's degree in law and journalism. He studied some piano as a kid as well. At around age 12, Xavier explains, "I got into rock music and black music. I was trying to understand (where) that sound was coming from and how to make it. That led me into computers, synths, FXs, etc. When I first met (composer) Alexandre Desplat for a position, I knew almost every machine in his rig. I think this element of my (non-music) education got me onboard." CAS Award Winner – Animated MEET THE WINNERS Isle of Dogs by David Bondelevitch CAS MPSE Set in a futuristic dystopian Japan, Wes Anderson's stop- motion animated Isle of Dogs follows a boy in search of his dog as a result of all dogs being banished to a remote island! I was able to catch up with the Foley mixer Peter Persaud CAS, the scoring mixers Xavier Forcioli and Simon Rhodes, and the re-recording mixers Christopher Scarabosio and Wayne Lemmer. Due to scheduling however, dialogue mixer Darrin Moore was unavailable for comment. PETER PERSAUD CAS: Foley Mixer Peter Persaud grew up in Oakville, Ontario, just outside of Toronto in Canada. I asked him how he got interested in Foley and sound. "Well, like everyone in sound, it starts with taking music lessons. Specifically, guitar. I took flamenco guitar lessons from grade school through my teens. I grew up as a metal head, but when I started learning about flamenco guitar, it opened my eyes to how influential music is to life and life is to music. I grew up in the '70s, and I was one of those kids that listened to albums for a super long time. Because our television was right beside our stereo, I grew up with headphones on. Some things never change, I guess! "In my teen years, I used to work at a grocery store. I went to hang out at the comic book store all the time on breaks. While I was there, one of the employees told me about a media arts course he was taking at the local college. When he said he was using a recording studio in the course, I was hooked. I have plenty of mentors, most of them are still leading the path for me. All of them have the same common base; a passion for sound and an understanding of how it can shape and play with all sorts of emotions." He went on to explain that he was doing Foley on this film because of previous relationships with the post crew. "Steve Baine (Foley artist) and myself have a great working relationship with re-recording mixer Wayne Lemmer. We've been fortunate

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