CAS Quarterly

Spring 2017

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16 S P R I N G 2 0 1 7 C A S Q U A R T E R L Y The CAS Award for Outstanding Achievement in Sound Mix- ing for Animated Motion Pictures was taken home by the team on Finding Dory, the sequel to 2003's Finding Nemo. The movie follows the adventures of the forgetful blue tang fi sh on her quest to fi nd her long-lost parents and features the tal- ented work of of Scott Curtis (Foley mixer), Doc Kane CAS (original dialogue mixer), Nathan Nance (re-recording mixer), Michael Semanick CAS (re-recording mixer), and Thomas Vicari CAS (scoring mixer). For this article, we spoke with Doc Kane and Michael Semanick, who see back-to-back wins, having received the same award for last year's Inside Out, as well as Scott Curtis and Thomas Vicari. SCOTT CURTIS: FOLEY MIXER Scott has worked in Foley since the early '90s. He has contributed to more than 150 titles as diverse as Dexter, Mr. and Mrs. Smith, Whiplash, Moana, and Finding Dory. In animation, he records the custom movement and elements that bridge the gap left by the fact that animation has no "production" sound. His work provides the sonic element of weight and movement in the space depicted. He describes Finding Dory as a typical schedule and workfl ow for a feature animatic. "Before my Foley crew (John Roesch & Shelley Roden) and I recorded anything, we met up with sound supervisor Tim Nielsen and Foley supervisor Chris Flick, went over the move and formulated an effi ciency plan. We would earmark scenes to postpone addressing due to incomplete animation and get clarity on some of the FX sweetening cues requested that would fall outside of traditional Foley. Then while recording, we would also on occasion, send Tim and Chris various examples of certain cues with the intent of getting feedback on their selected characteristics. Once those decisions are nailed down, then it's all about completing the recordings, playing back the reels with Tim and Chris and addressing their notes and turning the reels over to editorial. If I recall, we generated tracks for the following pre-dubs; footsteps, props, water (which included the principals swimming and movement). We had around four weeks to complete all the recordings." The level of collaboration was great from the beginning. He even had the rare treat of peering into the world of the animators. "A couple of weeks before we were scheduled to start, my crew and I were invited to a meeting on our Foley stage with the director and a dozen or so animators and colorists. We sat and listened while they discussed animating particular densities and patterns, kelp and underwater vegetation movement, and fl ow physics. Ultimately, they came to clarifying questionable surface and materials that were not apparent in the current version of picture. I think in the end, both camps walked away with a mutual respect for the other's approach and attention to detail … I know for a fact the Foley camp was appreciative of the opportunity to participating in that meeting." While Scott has quite a background in animation, he fi nds that the biggest asset to success on this fi lm is the synergy between himself and his crew as well as a solid commitment by all to get it right. "I started my career in animation, recording Foley on the Nickelodeon series Rugrats and Aahhh!!! Real Monsters, so animation will always occupy a special place with me. Saying that, the biggest asset has to be working and collaborating with my Foley crew/artists John Roesch and Shelley Roden. Without their creative input and dedication to continue experimenting till we're satisfi ed with the end product, I would have nothing to record. "In closing, I would like to extend my humble gratitude to not only the CAS nomination for my work on Finding Dory but the honor of receiving the CAS Award for achievement in mixing in the animation category." DOC KANE CAS: ORIGINAL DIALOGUE MIXER Doc Kane is world renowned as "The" premier ADR mixer in the industry. He has recorded for more than 35 years for hundreds of the most well-known actors and directors in Hollywood, including Tom Cruise, Brad Pitt, Robin Williams, Tim Burton, Gus Van Sant, to name just a few. A four-time Oscar© nominee, Doc was awarded the Cinema Audio Society Career Achievement Award in 2016. For Finding Dory, Doc reprised his role as original dialogue mixer on Finding Nemo. "Dory was such a great project to work on and Ellen and the entire cast were the best!! I drove Ellen crazy by moving the microphone around so much at the beginning of each of her sessions and making her drink water and chew on green apples but in the end, I hope she thought it was well worth the effort." The heavy revision and graphic element of animation demands a different workfl ow and timeline than that of live- action fi lm. "Our workfl ow process in animation recording is always a Doc Kane CAS, Michael Semanick CAS, Nathan Nance, Thomas Vicari CAS, Scott Curtis. Photo: Ben Shmikler/ABImages Doc Kane CAS, Michael Semanick CAS, Nathan Nance, Thomas Vicari MOTION PICTURES ANIMATED FINDING DORY by Jamie Gambell & Karol Urban CAS MPSE MEET THE WINNERS

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