Issue link: http://digital.copcomm.com/i/1314046
C A S Q U A R T E R L Y I FA L L 2 0 2 0 45 On Day Two, the CAS brought together a panel of re-recording mixers to discuss their workflows during the pandemic. Re-recording mixer David Barber CAS moderated. On March 19, California pulled the plug and shut down everything. Karol, what was going on when the shutdown happened? KAROL URBAN: I was working on a fourth series and finishing up a fifth. The busiest time ever. I was working 12-15 hours a day, six days a week, and had heard no news. Everyone was wearing gloves and masks, so I started wearing gloves and masks. I was finishing up Lena Waithe's Boomerang and the last playback was made remote, which seemed odd. We got through it, it sounded really great. We used ClearView Flex, which was lovely on Stage 3 at Westwind. We finished Project Bluebook in a regular way and Boomerang was after that. Then Grey's Anatomy called me and asked if I could mix the last few episodes at home. So, my sound supervisor husband [Steve Urban MPSE] and I ordered some stuff and built a stage in my second bedroom, which had been a sound design room. I mixed the last three episodes of Grey's as a single mixer there. We used a QuickTime approval and a Google Doc to interact with the clients. We used Source-Connect for the notes. I did a similar process with The Stand later in the summer. I got a renderer in my room and mixed with Dolby Atmos objects, which was great. Now I am back on the dub stage with no clients, just me and my mixing partner streaming through ClearView Flex. David, and you? DAVID FLUHR: My experience was gratefully busy. What I really enjoyed was the innovation that had to happen suddenly with new workflows that could keep production going. We had finished a musical for Disney Plus at Roundabout just before the shutdown. Disney was creating workflows for 300 animators to work at home. I ended up setting up a 5.1 stage at home so I could mix all the animation Disney was sending me. I was fortunate in being able to continue working and deliver product. Then I did a Netflix musical series for Kenny Ortega. We mixed nine episodes at Formosa in Hollywood. Now, we were going out in the world and it was very nerve wracking. We wore gloves and masks mixing on our own. I Play It Don't Spray It: MIX NOTES FROM A COVID-19 BUBBLE Recap by Peter Kelsey CAS Moderator: DAVID BARBER CAS Panelist: WILL FILES CAS (Re-recording Mixer) Panelist: MARC FISHMAN CAS (Re-recording Mixer) Panelist: DAVID FLUHR CAS (Re-recording Mixer) Panelist: GABRIEL GUY CAS (Re-recording Mixer) Panelist: KAROL URBAN CAS MPSE (CAS President, Re-recording Mixer) Presented by the Cinema Audio Society