Issue link: http://digital.copcomm.com/i/757053
C A S Q U A R T E R L Y F A L L 2 0 1 6 27 Discussing the beautiful studios at Sony, Bourgeois said that "One might look at such an impressive facility and think that it has been designed to cater to the clientele in every way possible, and it has; but more importantly, it is a platform for an equal balance of the technical and the artistic to make the talent feel that they are conducive to stretching the limits of storytelling. It is that storytelling that the content providers have as a product. We are here to support the writers and directors in their imaginary world, both real and unreal." Bourgeois went on to discuss the importance of mixers as creators in the process. "The originators of the material have the opportunity to work with us directly and are now more aware of what we bring to the table as artists. This has enabled them to be able to incorporate a new understanding of what new techniques are available in audio. We gain greater respect as artists in this way, and must continuously build that relationship by exposing them to the newest and best ways to be creative in audio." Bourgeois discussed his travels and how they have impacted the way he listens. Some cultures communicate using tools that Americans do not use. "I have had the great opportunity to mix in numerous different countries and with diverse cultures. My experiences abroad have opened my eyes to how many different ways there are to connect with audiences and how differently they see things. It has enhanced my under- standing of how to be expressive as an artist with sound. It is great fun when both parties [on] the stage learn from each other. That is the very best way to have the client realize that we are artists with sound." For example, decisions made in spotting sessions, such as use of specific Atmos channels, can be confirmed on the dub stage. Bourgeois pointed out that without pre-dubs, scoring cannot happen as late in the process as it once did. For this reason, he encourages meetings early on in the pro- cess to decide workflow and scheduling. "There should no longer be an assumption as to the structure of post, given the differing methods of how people use the newest technologies." Sony has installed a large Avid S6 in the Cary Grant Theatre. Bourgeois has extensive experience on the con- sole. Most re-recording mixers are freelance now, making the stage's engineer the mixer's best friend. "I must say that having my dongle and my iLok with me at all times hastens the setup time and process and guarantees my familiarity with my tools at hand." Bourgeois finished with a story about a non-industry friend who had asked what a re-recording mixer does, and after explaining his work to her, she now talks with him about sound design on a regular basis. This anecdote nicely sums up Bourgeois's approach to inclusive discus- sion from the very beginning of the filmmaking process. Educating the filmmakers about our roles in post pro- duction can only benefit everyone in the experience—and will make a better product for the consumer as well. " Each project has its own workflow. No longer is there a set approach to the structure. Not only do editors and sound designers work differently, but so do the mixers. There is a wider diversity in workflows now more than ever. Some mixers still do pre-dubs, some do not pre-dub at all. " –Gary Bourgeois CAS From left to right: Brett G. Crockett, Tom McCarthy, Gary Bourgeois CAS, CAS President Mark Ulano, and Tom Kenny.