Issue link: https://digital.copcomm.com/i/1383074
50 S U M M E R 2 0 2 1 I C A S Q U A R T E R L Y bring all the dialogue, FX, and music together and the mix almost tells you what it needs to do. Also, I love getting a whistle clean out of some dialogue. Who doesn't like scratching that itch? Shawn: It's been exciting to be part of this groundbreaking style of shooting. To be here at the beginning of using this technology has been an amazing learning experience. I believe in the years to come, we will all, from time to time, be utilizing this style of shooting. Blake: I really enjoy anything that gets the Foley artist and mixer to collaborate as much as possible. When they pick the perfect shoe and surface, and then I can add a little reverb on the fly and ride the fader as the character walks across the screen, you really feel the depth. This being my first dip into the Star Wars universe was all I had hoped. Growing up and having Star Wars be a huge part of my childhood with toys and the films, I was like a kid in a candy shop the whole time. Then The Rise of Skywalker got added to my pallet and that was the cherry on top! Chris: I'm sure I'm not alone when I say that my introduction to film music was through John Williams and Star Wars. I was 9 years old when my grandmother took me to see A New Hope. That music, in part, inspired me to take up the trumpet, so I pinch myself when I think about the opportunity I've been given to contribute to that universe in such a meaningful way today. Ludwig has created an incredible score that stands on its own in the Star Wars universe. His main title can already be considered a classic in its own right, but every once in a while, we get to record a theme from the original John Williams score. If hearing those classic themes played live by an orchestra on the other side of a couple panes of glass doesn't raise the hairs on the back of your neck, you might need to find another line of work. Stephen: Getting to work with such high-caliber teammates really kept me sharp and really helped me improve my ears. Any closing remarks or thanks you'd like to share? Shawn: I would like to thank the people who gave me the opportunity to do this show—Jon Favreau, Dave Filoni, and Colin Wilson. I'd also like to thank my stellar crew for this episode—Ben Wienert on boom and Veronica Kahn utility. And, of course, the amazing artists at Skywalker Ranch. Stephen: I am so thankful to Bonnie Wild, Matt Wood, and Dave Acord for inviting me to work with such an amazingly talented and friendly group of people. I wouldn't have had the opportunity to even be considered for such an amazing award if it wasn't for all of the hardworking members of the sound team who prepared the tracks. Mixing is nothing without a fantastic editorial team. Chris: First, I'd like to thank Ludwig Göransson for continuing to trust me with his music for all these years. I'd also thank his crew—Joe Shirley, Max Sandler, and Monica Sonand. Thanks to Erin and the crew at the Fox Newman Scoring Stage. Thanks to my assistants, Jacob Moreno and Colby Donaldson. Thanks to Larry Mah for keeping it all together and making our jobs easier. And thanks to Lucasfilm for allowing us to record in Los Angeles with the finest musicians in the world. Oh, and also big thanks to my wife Jennifer, and my sons Ben and Henry! Blake: I have to thank my wife Shayla and my kids Addison, William, and Eisley. This job sometimes has long hours or takes up a lot of my mental space. They are always so forgiving and loving and without that support, I wouldn't feel I could give my craft my all. Professionally, Dave Acord for giving me a shot on this show. I would like to thank Bonnie Wild for being a great supervisor on the show and putting my work in front of Dave. Her love of Star Wars was a definite plus. Ronni Brown and Jana Vance were my artists on the show and they both have a résumé of Star Wars content that is longer than my mic cable. Their ideas and performances are the foundation on what I get to add to any show. Bonnie: Lucasfilm, Skywalker Sound, Favreau, and Filoni. Post supe Jude Babcock for keeping the wheels moving. Matt Wood and Dave Acord for being the best. The music team— Ludwig Göransson, Chris Fogel, and Stephanie McNally. Shawn Holden and our dialogue team—Rich Quinn, James Spencer, and Steve Slanec. Partner in crime, re-recording mixer Stephen Urata! Assistant supervising editor Trey Turner. Effects editors—Jon Borland, Pascal Garneau, and Chris Frazier. Our amazing Foley crew—Blake Collins, Ronni Brown, Jana Vance, and Richard Gould. My kids Lily and Wilfie, who love Baby Yoda! My friends who I couldn't function without. My mum and, lastly, my dad who gave me the audio nerd gene! Corresponding with these fantastically talented mixers was so incredibly rewarding. They are true artists. Their enthusiasm and love of the craft is palpable; almost like osmosis, rubbing off on me to strive to do better. And for that, I thank them. I can't wait for Season 3!