CAS Quarterly

B E E N T H E R E D O N E T H AT Philip Perkins CAS mixed Drea Cooper's dance short ARTWorks and is now mixing the PBS feature doc The Island in Me, while anticipating the imminent arrival of his first grandchild! Joe Earle CAS and Doug Andham CAS are currently busy mixing Season 3 of Pose for Ryan Murphy Television, airing on FX, on Stage 3 at Formosa at Paramount. We wrapped Season 4 of Snowfall for FX Networks at the beginning of April and we are looking forward to starting the mix of American Crime Story: Impeachment soon. Cheers to everyone! So happy to be back with the crew! Amanda Beggs CAS is so incredibly grateful to be back at work with some of her favorite people. She wrapped up mixing the first season of Starz's new show Blindspotting in February with the legendary Randy Johnson on boom, Saif Parkar as utility, and Ty Moore as sound trainee. She then jumped right into the first season of Netflix's Monster with the absolute dream team that is boom op Zach Wrobel, utility Saif Parkar, and the soon-to-be utility and all-around phenomenal sound trainee Britney Darrett. Britney will be leaving soon to start work as a utility on a new show, and CAS Student Recognition Award winner Brandyn Johnson will be replacing her as the trainee! Gary Bourgeois CAS and Kyle O'Neal are mixing Debris for NBC and also mixed the pilot Ways and Means for CBS. Gary mixed the final and Atmos version of The Card Counter at South Lake Audio. Gavin Fernandes CAS has been finishing Season 2 of CBS Blood and Treasure and Season 2 of Escouade 99 for TVA in Montreal and will move on to a feature in Toronto. Lori Dovi CAS reunited with Tom Hartig (boom) and Jennifer Winslow (utility) on the ABC pilot Adopted, written and produced by Shawn Vance and Jimmy Kimmel… Seeing the light at the end of the tunnel! Karol Urban CAS MPSE and Kurt Kassulke CAS finished Made for Love for HBO Max. We are also soon completing Season 17 of Grey's Anatomy and just recently completed David E. Kelley's Big Sky for ABC. Finally, we begin mixing Netflix's Gentefied Season 2. We are so grateful to be busy and to see so many others also busy after such a difficult year. Woody Woodhall CAS has started the year supervising sound editing and re-recording mixing several great projects. No Ordinary Life is a feature documentary premiering this month at the Tribeca Film Festival. It chronicles five camerawomen who worked the front lines of many war zones for CNN over the last several decades. This powerful doc puts you right in the action, featuring much of their footage shot from Tiananmen Square, Desert Storm, Iraq, etc., and also stars many of the on-camera journalists for CNN at the time like Christiane Amanpour. It shows the strength and resiliency of these powerful women and afforded me the opportunity for some great sound design to complement their images. I have also posted the narrative feature film The Inheritance, starring Mena Suvari and Urkel himself— Jaleel White. This film was shot during the depths of the COVID crisis and will be opening in theaters this fall. Lee Orloff CAS returned from many lovely months of pandemic-imposed retirement rehearsal to mix Cry Macho for Clint Eastwood's Malpaso Films, an OG poor mans- free road movie. Jeffrey Humphreys (boom operator) and Jordan Bodhaine (sound utility tech/2nd boom) were along to share New Mexico's unique charms. Once Los Angeles had bounced back after its recent wave of COVID spikes around the start of the year, we started The Gray Man, a Joe and Anthony Russo film for Netflix. Jeffrey Humphreys and Adam Mohundro are the boom operators and Rene Defrancesch is the sound utility tech/2nd boom. Geoffrey Patterson CAS is currently working on the Untitled Lakers Project for HBO. From Uttam Neupane CAS: While entire film productions paused and movie theaters shuttered following all the health and safety protocols, we recently completed the feature film Prakash in the mountain village of Jumla, Nepal, where I was appointed as production sound mixer. The film shot for 45 days. While filming at a location with interesting and distinctive sound, we had to face windy storms and heavy snowfall, and the temperature would get to be below -7 degrees Celsius. While the impact of the pandemic was still present, the whole cast and crew were working very actively and were very optimistic toward the film. My experience with the team and with the people from the Himalayas was very surreal.

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