Issue link: http://digital.copcomm.com/i/1178376
58 F A L L 2 0 1 9 C A S Q U A R T E R L Y One of the creative events of the day was Dark Crystal: Age of Resistance, described as covering "audio workflows, tools, and creative techniques behind three Gelflings' epic journey." Jeff Komar of Avid hosted, with the guest being Tim Nielsen, who was both supervising sound editor and re-recording mixer for all 10 episodes of the show. Nielsen discussed why he thinks background ambiences are the backbone of sound design, and DARK CRYSTAL: AGE OF RESISTANCE— THE AUDIO WORKFLOWS, TOOLS, AND CREATIVE TECHNIQUES specifically important to the 10 hours of material that this show covered. The statistics that he rattled off about the show quickly showed how much work was involved. Because no production sound was used, there were more than 10,000 lines of ADR recorded for principals, using 800 hours of studio time. There were 64 The end of the evening was the "Sound Reel Showcase," which is the closest thing we have to the Academy's Sound Bake-off. This year, there was a wide range of films shown, including two documentaries. Among the people who spoke were Cheryl Ottenritter CAS, who showed clips from the recent documentary she mixed, The River & the Wall; assistant editor Matt "Smokey" Cloud, who introduced Ford v Ferrari in place of supervisor Donald Sylvester; Shannon Mills, who supervised Avengers: Endgame; Steve Ticknor, sound designer of Spider-Man: Far from Home; and re-recording mixer Andy Koyama CAS, who showed a SOUND REEL SHOWCASE OBSERVATIONS b y D a v i d B o n d e l e v i t c h C A S M P S E great scene from John Wick: Chapter 3 – Parabellum. Clips were also shown from Harriet, with an introduction written by re-recording mixer Skip Lievsay CAS; Amazon's first theatrical release, The Aeronauts (Lee Walpole, supervising sound editor/re-recording mixer); OBSERVATIONS b y D a v i d B o n d e l e v i t c h C A S M P S E the documentary Sea of Shadows (sound designer/re-recording mixer Bernhard Zorzi); and Uncut Gems, mixed by CAS Career Award recipient Tom Fleischman CAS. As always, it was a fun evening with lots of great sound work! Andy Koyama CAS Shannon Mills Jeff Komar and Tim Nielsen tracks of on-camera dialogue, 120 tracks of backgrounds, 1,600 Foley cues, and 40 cloth tracks, for a grand total of more than 700 tracks per episode. These were all played in a single session. The show started with Pro Tools HD hardware but eventually moved to Native, still using 700 tracks at a time!