Issue link: http://digital.copcomm.com/i/1380878
Summer 2021 – LOCAL695.ORG 21 L to R: Kea Peahu as Pili, Owen Vaccaro as Casper in Finding 'Ohana. Photo: Colleen E. Hayes/Netflix © 2021 L to R: Owen Vaccaro as Casper, Kea Peahu as Pili in Finding 'Ohana. Photo: Colleen E. Hayes/Netflix © 2021 You never know what could lead to your next job. I was midway through the second season of the Facebook Watch series, Sorry For Your Loss, when the script supervisor asked me if I had anything lined up after we wrapped. I didn't have anything set in stone, so she exclaimed, "I'm doing this movie in Hawai'i and Thailand! You want me to throw your name in?" I got a call about a day after I sent in my résumé, asking about my availability, willingness to work out of the country, and if they could set up a video interview with the film's director, Jude Weng. Things continued to move quickly as I read the script, met with Jude over video chat, and got the formal offer within weeks. I would be going to Hawai'i, Thailand, and New York City as the Production Sound Mixer on a new Netflix movie called Finding 'Ohana. Like many of us, I've read a lot of scripts, but without hesitation, I can say that I loved this one. It was honestly funny, heartfelt, and authentic. Many scenes with key dialog took place near waterfalls and in caves, there were scenes in cars and on ATV's, there was live singing and music playback, swimming, and stunt work. All in various locations with anywhere from medium to difficult accessibility. This was going to be both a challenge and an adventure. I made the decision early on to go with a more mobile configuration of my equipment to allow myself to fit into tighter spots and so I could self-carry what I needed into the more challenging locations. However, I needed a lot to fit in a small package; my rig needed to run on battery power all day and be something I could hike up the side of the mountain. Sound Devices had only recently released the Scorpio portable mixer-recorder, but I immediately ordered one. With sixteen mic/line preamps and twelve analog outputs, I knew this would be the right machine to use for this movie. Its size meant it could live in a bag, along with my wireless receivers, antenna distribution, IFB transmitters, private line comms, and battery distribution system. However, I didn't just want to work out of a bag the entire time; I knew we would be able to set up shop on a cart for many locations, and we had stage work planned in Bangkok. I decided to use Devendra Cleary's DC-TRM cart as my starting point and then customize it as needed. In the