Issue link: https://digital.copcomm.com/i/1500716
30 S U M M E R 2 0 2 3 I C A S Q U A R T E R L Y with Guillermo, Mark, Alex, Scott, and the rest of the team was a real highlight of my career. What a truly enjoyable experience. Thank you all! PC and KW: This was an extraordinary project to work on, and we feel honored to have been involved. We had a wonderful team to work with. The orchestral performances were produced by Solrey Lemonnier and assisted by Romain Allender. Andrew Dudman pre-recorded many of the vocals, and we had invaluable support from Dan Hayden, John Prestage, and Chris Barrett at Abbey Road and AIR Studios. Our collective ambition was really supported by all the team at Netflix, including Steve Gizicki and Amy Dunning and producer Alex Bulkley. Working with Guillermo, Mark, Alexandre, and all the team was a dream. We were also really thrilled to receive recognition of the whole team's work from the CAS. With the sound of a church pew creaking, Geppetto explains to Pinocchio that "People are sometimes afraid of what they don't know." That carefully performed and recorded audio—tenderly accentuating the delicately delivered dialogue—exemplifies all that sounds right in this film. When a single sound can bring a tear to my eye, I know I'm witnessing the work of artists operating on another level. Well done, sound team of GDT's Pinocchio. Alexandre is the master of getting inside the characters. Roeban Katz's lyrics were a delightful adjunct—helping give wit, humor, and voice to the incredible animation. What's your approach when you mix dialogue with actors such as Ewan McGregor, Cate Blanchett, Christoph Waltz, Tilda Swinton, and newcomer Gregory Mann? CS: Well, my primary job is to be ready for any situation that can happen in a recording studio, whether that is setting up ADR to be ready or having a music session ready to happen at a moment's notice. Doing my job seamlessly is required to make the process organic, fun, and fruitful. This is a Netflix film. What's it like working with a streaming giant? JT: We've mixed several films for Netflix, and we have always found them to be extremely supportive. The delivery of these films is a lengthy process, taking as long as two weeks on two stages for some. Netflix has a very thorough QC department, and the QC operator really helped us on this film by giving us very precise sync notes for the dialogue tracks. Admittedly, we had gotten used to some sync differences after a few months on the film and introducing this fresh take really helped us to regain perspective. Any final shout outs you'd like to make? JT: This would not have been possible without our amazing Universal Studios family, including our mix tech, Bill Meadows, Kirsten Smith, and all of our engineers. Working The sound team accepting their CAS Award. Actress Cate Blanchett recording dialogue.