CAS Quarterly

analysis of completed films, usually with well-known ones to investigate what is happen- ing under the hood and how awareness of the whole soundscape can be essential to cre- ative choices in the field. Then, we use a series of exercises to go out and record both specific sounds to discover and record, discreetly, sounds that they would not normally notice or recognize. Finally, I give an exercise in recording voices of all stripes, inclusive of playing with microphone types and placements. These are early building blocks to developing the special sensibility needed in our work. James: I have my students listen to great podcasts from Radiolab and Twenty Thousand Hertz. They analyze and write a breakdown of the podcast for discussion. I then ask them to create a short podcast which uses sound to support the story. It's so interesting to listen to what they create. They also have short essays where they are asked to analyze a scene for sound. We talk about signature sounds. I have them listen to examples of spoken words that I recorded at different settings, with very subtle differences, to train their ears. Chris: Having students listen in different environments (with their own ears). Having students listen in different environments with headphones. Playing film clips over and over and asking students: What did you HEAR? Everyone tends to be distracted by what they SEE. But if you keep repeating the clips, eventually—SLOWLY—they all begin to HEAR. Do you show movie clips in classes? If so, what clips do you use? Tod: Nomadland, Minari, Mank, One Night in Miami…, Sound of Metal, and The French Connection so they know what older films sound like. We listen to the dialogue on each of these films. Mark: Yes, I do. I use different clips at different times. I'll use clips from Super 8, Citizen Kane, the 1913 Edison sync films, Amadeus, Jackie Brown, and others. James: Yes—many. I have clips from classic films, as well as recent. Some of the films I have used include Munich, Parasite, different Star Wars films, Raiders of the Lost Ark, Apocalypse Now, Saving Private Ryan, Whiplash, Singin' in the Rain, Some Like It Hot, and The Jazz Singer. I also sometimes use clips of documentaries about sound or filmmaking, and I encourage the students to watch the full versions later. I use the opening sequences a lot. Have any new technologies been stumbling blocks for students learning to mix? Mark: Yes, all of them. Chris: Every new technology starts out as a stumbling block. And then once you master it, you wonder what the problem was! Tod: The good thing is that they are all "digitally minded" because they grew up in the digital world. Certain people grasp more quickly than others. It is definitely daunting to them; just setting up the wireless, set the level, scan frequencies, and send it into a 633. All of these concepts are new for them. They are creative and artistic, so I try to simplify the technical and focus on the philosophical. Every scene is different. James: No. Most students seem to be able to gain a fundamental understanding of the hardware fairly easily. Using it on the set is another story. It takes them some practice to get it right. The first time around is often difficult, including boom placement and setting correct levels. The physical strength required to operate the boom is always underestimat- ed. Their biggest challenge is learning to listen on the set, rather than anything to do with the new technologies. David: I think the cost of education has left students with little money to invest in their own gear, so they are frequently using their own cheap and non-standard setups. This means that they are not learning the professional gear that we have. This was exacerbated during the pandemic. Although we offered pro equipment at school, no one wanted to go David Bondelevitch CAS MPSE to campus. There is a fairly steep learning curve to many of the technologies that we use, and many students think they will never use those technologies because they will be doing their own mixing the way they want to, which usually involves tools that they already know and can afford. It is very difficult to motivate them to go out- side their safety zone. What is the hardest part of mixing? Tod: I've been a sound mixer that went kicking and screaming to the wireless world. I understand it, but I find that you do sacrifice one for the other. The hardest part is using multiple cameras. It is diffi- cult to mic for both cameras at the same time. James: Listening. Understanding and interpreting what they are hearing. Mark: Staying open to solutions, staying calm and engaged under pressure. Getting fluent enough to relax into the intensity. Developing a subconscious response skill. Often, if you have to think a thing in the moment, it can be too late. Your senses need to become one with the other per- formers—both in front of and behind the camera. This takes time to develop but is very important if one is to progress.

• Cover