Issue link: http://digital.copcomm.com/i/1259912
But he also expresses that there are cons. "I seem to work longer hours at times when at home, and it's a pain to have to be my own tech support occasionally," he explains. It is easy to get lost in overcoming an error that won't go away or a scene that derails you. Time management becomes a practice of discipline. It is very possible to mix in quarantine and do it very well. But, in addition to it requiring practical study in how your room translates, how your technology works, and a significant financial investment, there are unavoidable effects on the creative process. Keeley expands, "I miss the energy and rapport of being at a facility and the one on one time with the client." I could not agree more. I am currently slated to begin a new project, and I am faced with creating a mix for a new team, a new distributor, with a new mix partner without ever spending time with them in the same room. I won't be able to ask them in the moment whether we should foreshadow something or diminish its presence, or completely misdirect. As I prep for this project, I find myself watching hours of projects produced and written by the same team to observe sonic patterns and preferences and taking notes for a future video conference call I hope to have. A client-turned-dear-friend would often say when she would enter the dub stage, "Let's play in the sandbox!" Besides technological hurdles, the creative process changes with physical distance. It is the input of my supervisors, the knowledge and creativity of my music editors, the dance with my mixing partner, and experiencing firsthand the visceral reactions of my writers, editors, producers, and directors that I lack most. It is the professional and creative hive mind that often creates the magic of an impactful narrative. While I know our industry and sound mixers continue to find ways to meet the demands of the ever-changing landscape of our industry, I can't wait to get the band back together, all in one room to do something amazing together again. Perhaps we can incorporate the bunny slippers. • Sound Striker Post 80 70 70 100 10.2 7.4 7.4 100 100 100 100 100 60 100 100 70 70 30 30 100 100 60 100 100 100 100 70 70 30 30 100 100 60 70 70 40 70 70 30 30 100 40 100 40 40 100 10 40 40 20 70 70 3.1 2.2 2.2 70 40 40 75 66 66 50 40 40 25 19 19 B 0 0 0 0 100 70 30 100 10 25 50 75 90 100 100 60 100 70 30 100 60 40 70 40 70 30 100 40 40 100 40 100 40 70 40 70 40 40 3 40 70 40 70 40 40 100 60 A 3% ISO 12647-7 Digital Control Strip 2009 To access a list of remote software solutions and manufacturing specials available to assist during this difficult time visit: https://cinemaaudiosociety.org/cas-covid-19-resources/