CAS Quarterly

16 FA L L 2 0 2 1 I C A S Q U A R T E R L Y an article to the Winter 2021 issue that looked into the appeal of the CAS internationally, and interviewed some of the CAS Award winners for our Summer 2021 issue. [For these issues, visit the CAS Quarterly archives at https://cinemaaudiosociety.org/ archived-cas-quarterly/] Daniel values his ability to understand and interpret what the directors and producers he works with mean when they're looking for "reality." As an example, he recalled one lm where he worked very carefully to record and mix the unique sound of Colombia's Metro system, as it has a very smooth whine/ wind as it moves over the rail track. As he was mixing the lm, the director wasn't satised with that sound on its own, so Daniel added an extra element of New York subway rail track clickety- clacks that satised the foreign director and created a nal lmic subway sound that was more universal. Similarly, Daniel had one production where there was a busy Colombia street scene. He had specically recorded a number of trafc beds, atmospheres, and bird calls to make the sound authentic and unique to its locale. Despite being 100 percent locally recorded, the American director wanted the "real sound" of Colombia. Listening more closely, the director had driven through the streets on several taxi trips, and what had caught their ear were the callouts of street vendors/taxi drivers and busy sidewalk activity. So, the reality that the director needed was that energy—which Daniel had spotted for Group ADR. When those tracks were layered in, the director was very satised with the reality of the sound. Creating a reality goes beyond depicting sonic elements; it's about interpreting its meaning and perception for the director and the reality depicted in each story. Daniel works efciently. Features in Colombia are single-person mixes and usually no more than 10 days long from pre-dubs through deliverables. However, directors and producers have been increasing the time allocated as they realize how much value their Mixing music on a beautiful Neve VR Taking a break while constructing Clap Studios. (L-R): Gabriel Perez, Laura Alvarez, Daniel Jaramillo, and Daniel Vasquez. Finishing the mix of The Smiling Lombana with Sebastian Alzate (co-supervising sound editor), Camilo Sanabria (composer), Daniela Abad (director), Daniel Vasquez (re-recording mixer & co-supervising sound editor)

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