Issue link: https://digital.copcomm.com/i/1535806
more for him and then as I gained more experience, I would do bigger projects and record and mix on those. When this came up, he asked me if I wanted to record it and mix it, and I immediately said yes. It was just a bit of a partnership with Blake being someone who's at his studio all the time and knowing his music well. Michael Minkler CAS: Well, I had worked with Playtone, the production company that created it, before. It's the third of their series. They also did Band of Brothers and The Pacific. I did The Pacific with them, and I've done a lot of other films of theirs, probably 10 over the years. I've worked with Gary Goetzman, the producer, for about 35 years on various things even before he was with Playtone. The call came to me and, of course, I was thrilled to do it. I knew what it was going to be like after working on The Pacific, so I was really thrilled about it. Duncan McRae: I have worked with Mike Minkler a number of times in the past, and we've always had a really good time working together. He and [supervising sound editor] Jack Whittaker were looking for an effects mixer and gave me a call, and it was impossible to resist. With Band of Brothers first, and then The Pacific, this series had to live up to so much and I knew it was going to be a massive challenge, but I had to take that leap and really push myself and give it everything I got. Randy Singer CAS: Mike Minkler and Jack Whittaker approached our team to do the Foley because we have extensive experience in dramatic films and TV. When they asked if we wanted to work on it, we were absolutely thrilled to work with such high-quality professionals, such as Mike and Jack. It was a great opportunity for us. Sean Moher: I work at a recording studio in London called Forever Audio, and we have fostered a good relationship with Formosa. Since a lot of the actors in Masters of the Air are English, they needed a space to record ADR, and we happily obliged and took it from there. What was something about this show that inspired you to want to help tell the story sonically? MM: Well, first of all, it's a great story, a true story. I'm kind of a buff on World War II anyway, and once I started reading the script and doing my own personal research, I found it very heroic and romantic and yet not as horrifying. It just intrigued me. I wanted to make it as authentic as possible and, of course, that was our marching orders from EP Gary Goetzman, which was make it authentic and entertaining. I put a crew together and we all went out and recorded a B-17 for four days in Arizona. That was pretty cool. We got to see what it was really like to be in one of those. Of course, hardly not the same as being under fire in combat, but it gave us a sense of things. We got to record every little thing that moved on the ground and in the air. We put together a library of the sounds to use in the show. DM: My grandfather-in-law was a radio operator on one of the B-17 planes in the war and, strangely enough, my The sound team with their CAS Awards L-R: Shane Stoneback, Duncan McRae, Thor Fienberg, Tim Fraser, Sean Moher, Randy K. Singer CAS, and Michael Minkler CAS