Issue link: https://digital.copcomm.com/i/1057439
C A S Q U A R T E R L Y F A L L 2 0 1 8 57 The formal programming centered in seven different locations. The Burt Lancaster Theater hosted the Mix Panel Series with events such as a panel provided by Motion Picture Sound Editors on sound editing for animation, a panel entitled "Mixing Dialog: The Audio Pipeline," supplied by the CAS, and "The Business of Immersive" with engineering professionals provided by Westlake Pro. The Barbra Streisand Stage became the Production Sound Pavilion and hosted the CAS Parade of Sound Carts and a panel on Ambisonic recording entitled "The Future Is Back," hosted by our own CAS Board member, Glen Trew CAS. The Anthony Quinn Theater turned into the Composers Lounge and highlighted the musical influence in such productions as First Man and A Star Is Born, as well as professional highlights on the very accomplished composers Paul Lipson and Nathan Barr, as well as a master class on composing for video games. Dolby took over Stage 6 and had an all-day Atmos lab with a highlight hour providing specific insights by re-recording mixer, sound supervisor, and sound designer Will Files. Avid provided programming throughout the day on the Cary Grant Theater, including panels on streaming content, monitoring, and control solutions for immersive media, Avid S6 demos and a panel exploring the importance and significance of the women in our industry entitled "The Future Is Female." Avid Dub Stage 15 and Stage 17 ran Meyer Sound and Yamaha demos throughout the day. Many more events, highlights, case studies, demos, etc., were also running throughout the day before everyone gathered for a cocktail hour and the "Sound Reel Showcase," presented by Formosa Group in the William Holden Theater. This ended with samples of work from the past year and even some sneak peeks of unreleased projects. Below is a brief collection of observations and takeaways from a few of our members who attended just a slice of the events available at this ever-growing wonderful event: Above: Eileen Horta and Matt Waters CAS catch up between panels. Left: Erik Aadahl addresses the crowd at the Sound Editing for Animation Panel. Photos by David Bondelevitch CAS MPSE. SOUND EDITING FOR ANIMATION Presented by the MPSE MODERATOR: Carolyn Giardina, The Hollywood Reporter The first panel of the day began with a lively discussion about sound design for animation. Re-recording mixer Paul Ottosson (Penguins of Madagascar, Jimmy Neutron) joined supervisors Geoffrey Rubay (The Lego Movie, Cloudy with a Chance of Meatballs, Tarzan), Erik Aadahl (Kung Fu Panda), and Eileen Horta (The Adventures of Tom Thumb & Thumbelina, Scooby-Doo and the Cyber Chase). Erik Aadahl spoke at length about his love for working in animation because you get to create the entire sound design from scratch, and you can use many different styles of sound. He and co-supervisor Ethan Van der Ryn challenged themselves to do an entire act of a film using only noises created by their mouths. (It did not end up that way, although many individual "mouth" sounds made it into the mix.) Paul Ottosson said that one of the bigger challenges working in animation is that picture changes are always worse than they are lead to believe. "A five-frame picture cut" sounds easy until you see that nothing in the shot is the same. OBSERVATIONS BY David Bondelevitch CAS MPSE