Issue link: https://digital.copcomm.com/i/1436283
78 I m ps e . o rg In Review BY DAVID BONDELEVITCH MPSE Welcome Remarks Mix magazine editor Tom Kenny welcomed the crowd to the eighth (and second online) meeting of the annual Sound for Film & TV event and introduced Tom McCarthy who spoke about Sony's recent upgrades to their mix stages, making 10 Atmos stages out of the 14 on the lot, with another Atmos stage coming next year. Each stage has 32 speakers. What We Talk About When We Talk About Sound Tom Kenny then introduced supervising sound editor Wylie Stateman: "The basis of sound for picture is how to tell stories," using picture and sound. He explained that The Queen's Gambit was created to tell a story using only picture and sound. He then introduced Thomas Dolby, who now teaches at the renowned Peabody Conservatory at Johns Hopkins. "It's about emotion, fi rst and foremost. It's the composer's job to interpret the desire of the director to create the emotions he wants, and to underpin the emotions that are on the screen." In questions regarding limitations, Thomas Dolby explained, "Limits lead to creativity." His fi rst sampler was a $90,000 Fairlight that could handle eight voices of under one second each. "That's when you are forced to be creative." Explaining that using Google to fi nd the answers limits creativity, "I'd rather see somebody who is MacGyver, versus someone who has all the 'solutions' on their phone." A Conversation with Mark Mothersbaugh Jennifer Walden of Mix magazine introduced fi lm composer Mark Mothersbaugh. The conversation focused on the fi lm The Mitchells vs. the Machines, a Netflix animated feature. Mark knew the directors Phil Lord and Chris Miller through Cloudy with a Chance of Meatballs and then 21 Jump Street. Interestingly, Jennifer Walden of Mix magazine introduced fi lm composer Mark Mothersbaugh. Jennifer also introduced composer Dickon Hinchliff e