CAS Quarterly

C A S Q U A R T E R L Y I S U M M E R 2 0 2 1 49 because we were one of the first projects to record together after the start of the pandemic. Starting in July 2020, we did, I think, five sessions with 40 musicians at Fox Newman. We had to come up with ways to keep musicians safely distanced while still achieving a good, sonorous orchestral sound. It worked in the end, but it's definitely a different sound not having all those bodies closer together like they traditionally would be. The musicians also had a hard time hearing each other being spaced so far apart. Blake: This show came with a few challenges. With the fandom that is Star Wars, you want to stay true to the originals while also creating something new and putting your touch on it. The theme going into this show was "Western Samurai Sci-Fi!" That is a few different genres. We wanted Mando to feel like a space cowboy. Give him some creak and maybe some spurs, even though you don't see them, and some weight. To me, Westerns have a real sense of bringing the audience close to the character with the grit and leather and those types of things. We wanted the audience to feel connected to Mando with the way he sounded, especially since you don't see many facial expressions. Bonnie: Time! Also, creating a theatrical feeling mix within the boundaries of the streaming spec creates a special set of challenges. We want to be making the big moments as impactful and effective, without all of that headroom. It's equal parts using the right sound and mixing it effectively. I always want to present the mix to the client within spec. It's important everyone trusts that the mix they hear is the mix that masters. Stephen: Same as everyone in the industry; too much to do in not enough time. How much were you in contact with the rest of the sound department? Shawn: We have not had much of an opportunity to be in contact since they are all up at Skywalker Ranch. Blake: We were all still in the building, pre-COVID, so we'd get to do playbacks and talk over breakfast and lunch like the good old days. I always love doing playbacks of reels or scenes just to make sure we're on the right track with what the supervisor is wanting. Getting the feedback as we are working on it means that there aren't many surprises in the final mix. Keeping the constant communication just ensures that everyone is happy. Stephen: I was in constant communication with other members of the [post] sound team. Although the mix room was isolated and not big enough to fit all of the editors at once, I never felt disconnected with the people who created all of the amazing tracks in the first place. Bonnie: A lot. VFX updates are happening as ADR and loop is being shot, while fixes are being flown to the stage. Decisions about many aspects of the episode are still being made while the mix is underway, so all the crew is keeping up. Chris: Not very often, to be honest. Even pre-COVID, most of my days are spent alone mixing. My music mixes and stems are delivered to the music editor, Stephanie McNally, who then communicates with Bonnie up at Skywalker Sound; although I do have fairly regular direct contact with Bonnie since we collaborate on a couple Disney+ shows (The Mandalorian and The Falcon and the Winter Soldier). How is this show different from other shows you've worked on? Shawn: This show is much more high-tech than anything else I've done to date. Chris: Did I mention before that it's Star Wars?! Everything from the scope, to the canon, to the security, to the public anticipation is just different. From a technical standpoint, it's not much different than other shows I've worked on in recent years, pandemic adjustments notwithstanding. Blake: I think what made this show different for me was how close I was to it. I want to make every show I do sound great, but it felt like there was more riding on this one for me, personally. With Boba Fett being my favorite character, I felt this could be a chance for there to be some justice to his end and be carried on by Mando. I won't spoil anything from Season 2 though... Stephen: [This is the] first show I've ever worked on where the collaboration was fully remote and through video conference. We streamed the picture and sound mix live across the entire state. Bonnie: Really just the vast amount of work to do in the time! The expectations are high and there are a lot of moving parts. It reminds me a lot of "Phenomenal cosmic powers! Itty-bitty living space." [A quote from the Genie in Aladdin.] What's the most rewarding aspect of being a part of this show? Bonnie: This first season of The Mandalorian was just all kinds of firsts. It was scary and exciting and we were all making decisions about the aesthetic and character of the track that would carry from there on. Just delivering the eight episodes in all their formats was its own reward (Home Atmos 9.1, 5.1, and stereo). This crew in general is a little dream. I mean, I can't express my gratitude and respect for Matt and Dave enough. They strike this balance of collaboration, freedom, and guidance; that's a real art. It's a safe space to be creative. Same with Favreau and Filoni, they know the direction they want to travel, but the ride is a collaboration. [I enjoy] figuring out what story we're telling in each shot. Finding the puzzle pieces and the rhythm that propels and supports the story, action, and emotion. I love following that feeling you get when you ADR mixer Matthew Wood

• Cover