Issue link: https://digital.copcomm.com/i/1469840
44 S U M M E R 2 0 2 2 I C A S Q U A R T E R L Y exciting. And when I woke up on the Sunday and had the messages from people saying congratulations, I was just over the moon. It was a great way to wake up on a Sunday morning in the UK. Well, a huge congratulations. It was a fun night. I'm still getting used to socializing again. So, I'm all out of questions. If there's anything you want to add that you feel like is missing, something you want said, please do! David: I'd like to say something. Because I don't choose the episodes [to submit], when I knew that this one was nominated, I went back and watched it again. The thing that I noticed that is important, within five minutes of watching the episode, I'm completely ignoring the sound. I'm just in the episode. I'm not aware that there's any sound. It just flows. I think that's really important because I've watched shows that I work on, and sometimes I find them quite jarring because I'm just too aware of the sound, and I can hear the ADR and the effects don't seem to work, but on "Rainbow" in particular, I just watched it and within five, 10 minutes, I had totally forgotten I was watching it for the sound. I just got completely lost in the episode, which I think is why it does work. That everyone's done a fantastic job. Ryan: That's a tremendous compliment, David. Thank you. Brent: In tying what you just said, David, into something Arno and Ryan and Sean were saying earlier, and considering the amount of time that the producers grant us to work on the sound. It's not that we wouldn't love that on all shows, but this show gives us the chance to make those things work. Arno: Having the right amount of time is crucial to creating a better result. Usually, we get hard shows that we don't have enough time. And then we have to talk to the client and say, "Do you want us to give you more coverage or more detail work on more important props? What is important for you? Whatever you want, we'll cover it, but give us more time, and we'll do everything in a perfect way." Brent: Yeah. So, I'd like to give props to the producers for acknowledging that we can [when] given a little extra time that they give us. It makes all the difference in the world of being able to finish the project correctly. Sean: A lot of times, it's "You've got six hours for this one. You've got two days on this. Make it work." And then it becomes triage, you know? When we get the gift of time on something like Ted Lasso, it's amazing and we learn something new on every episode. We get to play and discover. David: I have to give a shout-out to my team, Emma [Chilton], Andy [Mawson], and Michael [Fearon] because they work really hard on the set because we shoot two cameras all the time, as I'm sure you're aware, and they're really quite forceful on set. They're backing me up, trying to get the cameras to operate together in a sound-friendly way. So, they work really hard, but I think you'd be amazed if you came. If you come to the set in a couple of weeks, come to the training pitch where we film all the football. They're knocking down a building about 100 feet from the end of the football pitch at the moment! I want to thank David Lascelles AMPS, Ryan Kennedy, Sean Byrne CAS, Brent Findley CAS MPSE, Jamison Rabbe, and Arno Stephanian CAS MPSE for such a fun conversation. It was truly a pleasure to learn more about this team and share it with the readers. Can't wait to hear your work on Season 3! Re-recording mixer Ryan Kennedy ADR mixer Jamison Rabbe