Issue link: http://digital.copcomm.com/i/830490
Hearing it together with the final scored music on the mix stage triggered further edit and mix adjustments." She really enjoys the continual crafting from both the editing and mixing chair and is able to switch brains, never loosing sight of the story. "As a second designer and mixer on the same film, you can't be too precious about the effects. You have to see it as a big picture on the dub stage, see how it plays with the dialogue and music, and make sure they don't clash too much." The film was an incredible technical and creative feat that left the entire crew invigorated and inspired. Betancourt expresses, "I think, after so many years, we all have the tendency to get a little jaded in what we do. But when a project like this comes around, it makes us go … 'OH YEAH!' So try to bottle that feeling and apply it to everything else." Nelson concurs, "Every time I do something like this or see something like it, I go 'Wow, we need more of these movies' and thank goodness that Lionsgate backed it and supported it all the way through." And Morrow, clearly not concerned about making all of us jealous, shares, "This is one of those films that the entire experience was fun from beginning to end. As much fun as it was to watch, it was 10 times more fun to make." "It's been quite the ride. I think we all could see from the beginning that this project was special. Everyone was giving everything they had to the film from day one. When you see that kind of sacrifice and outpouring of creativity from the people around you, it's contagious," summarizes Baxter. Clearly, Damien Chazelle had an incredible vision and fos- tered a team of incredible talent. Congrats from all of us at CAS to the sound team on La La Land! The crew shooting the opening scene