Issue link: http://digital.copcomm.com/i/1316380
54 I M PS E . O R G mixers all noted that they all appreciated the uninterrupted time that they have been spending with their tracks. Urban relayed that thanks to this time to flesh out her first pass, she's finding "that notes have reduced by 60 percent to 70 percent. [Clients] seem really happy with what we're able to come up with [thanks to] that different head space when you're working in that isolation." Fluhr agreed, but Files questioned if it was the uninterrupted time or the producer's own revised head space, "just because people's priorities have shifted a little bit." When it comes to producers, directors, and the other powers that be relaying their notes outside of the real-time remote playback systems like Evercast and Clearview, Frame IO was noted as an efficient and secure offline review tool that displays notes within the video's timeline and can be exported to CSV or XML files. Even sending a QuickTime with a LoRo mixdown via Aspera, or another secure file-sharing system, and creating a Google Doc to share amongst mixers and reviewers has proven to provide a simple, but cost-effective means to offline consolidation of notes. The direct link to QuickTime file allows producers to screen mixes on their own time while the shared document cuts down on the repetition of notes while revealing to the various reviewers where their notes may be in conflict with those of the director or other creatives in the review chain. With the hindsight of the 2020 experience, Barber asked the panel what they see from this experience that will carry forward. Files quickly proposed that "more and more work will be done in home studios, but I don't think that the dub stage will be going away. I do think that a lot of producers and other collaborators will prefer to stream stuff than come to the stage." Given the difficulties of schedules, traffic, and time management on productions that existed pre-COVID, Files joked, "Having these Clearview [systems] and other programs available, I don't think we'll be able to get [producers and directors] to come back to the stage…" But Fishman says he misses that one-on-one connection, citing that "on Lovecraft Country, we haven't met our showrunner yet. It's been really strange … that social aspect has been really daunting." A Bevy of Sessions There were multiple sessions brought to the virtual Cary Grant Theatre where sponsors were able to discuss their latest projects with the filmmakers who made them sound outstanding. Apple TV+ presented a conversation with Oscar-winning re-recording mixer Michael Minkler CAS where he discussed with Tom Kenny his experience as supervising sound editor and re-recording mixer on the World War II action film, Greyhound. The CAS showcased its annual Parade of Carts, with a session held each day. Production mixers Dan Kelly CAS, Devendra Cleary CAS, Michael Wynne CAS, Chris Munro CAS, Ronan Hill CAS, and Simon Bysshe CAS discussed with moderator Peter Devlin CAS their latest improvements, workflow tips, and secret weapons on their production carts that help them capture the best production sound possible given the new considerations that social distancing requirements will demand on set. Dolby's Tom McAndrew interviewed re- recording mixer Paul Hsu of c5 Sound Inc. whose recent work on Spike Lee's lauded Da 5 Bloods is currently available to stream in both Dolby Atmos and Dolby Vision on Netflix. Netflix presented The Composers Lounge, a series of interviews by journalists Lily Moayeri and Jennifer Walden with Will Bates (Hillary, Away), Laura Kerpman (Lovecraft Country, Why We Hate), Fabrice Lecomte (Sylvie's Love), Nathan Barr (Uncle Frank, The Great, Hollywood), and Daniel Pemberton (The Trial of the Chicago 7, The Dark Crystal: Age of Resistance). These brief conversations shed light on the processes and practices,