Issue link: https://digital.copcomm.com/i/1535806
48 S U M M E R 2 0 2 5 I C A S Q U A R T E R L Y doing and doing what you love because that's what means the most, making sure you're happy doing it. This is just icing on the cake. I also want to mention that we mixed at Formosa Group, and they really supported us with everything we needed to achieve the full audio experience from Atmos down to stereo, along with the Sonos support, as we had to experiment and try and educate ourselves. It was all pivotal and key to our success, I believe. I also want to send a shout-out to Jack Whittaker who was the supervising sound editor. I can't even put it into words the amount of his contribution. The show wouldn't have been possible without him and his talents and his motivation as a leader. Finally, I want to give a shout-out to Charlie Campagna, who was the sound effects librarian for his contributions. RS: I've been in this industry for 44 years now and I've been nominated nine times, and this is my second win. I didn't expect it. It was a surprise. But it's a wonderful feeling to be acknowledged by your peers, especially since there was such great work nominated in this category. It's hard to think that just one show can receive it, but it's an absolute honor. The sound team was great. We didn't get to meet until the CAS Awards since most of them were from England, so it was nice to come together at the end and be recognized for such a wonderful project. I'm very grateful to be part of a team that is so dedicated to doing the best work. SM: It is huge for me personally. It's like a dream, really. I did think this show would probably be up for some awards, but I never imagined that as the ADR mixer, I would be nominated as well. So, it was quite a surprise for me when I found that out. It's just incredible. There's nothing really comparable to the CAS Awards or the MPSE Golden Reels for people in sound. It's like the Oscars of the sound world in a way, you know? It was also the first time I got to meet the mix team. They were all so nice and so down to earth, which was just a pleasure. It was amazing getting to attend the ceremony and meet so many peers and giants of the industry as well. Being a bit of an outsider to this world because I'm over here in London and I'm originally from Ireland, which has an even smaller industry, it's a huge honor to be recognized at this level. Tim: It was great to be awarded an Emmy, of course, but to be nominated and ultimately win the CAS Award, voted for by colleagues who know all the ins-and-outs of similar projects, was very flattering. But it is not without mentioning my amazing crew who helped make it happen. It was a large crew: two regular complete sound units, and the aircraft unit headed up by Gary Dodkin mixing with the gimbals and aircraft. Many second unit days of course. My unit with Loveday Harding, Lee Grainge, Julia Roberts, and trainee Joeline Lindqvist completed my regular team, who were exceptional. What could have been quite chaotic gelled really well, and I only wish everyone on the sound team could all be honored with an award. Thor: It feels incredible. I have to thank the whole crew and sound team who were all part of it. It's nice to be recognized by people who do the same thing as me. There was a lot of hard work that we put into this. I mean, if I wasn't mixing, it was conversations and everything in between for many months. The dub stage was working for even longer, and I know everyone put just so much work into it and believe so much in this project. It's great to be recognized for that. I am super proud of the project, whether we receive acknowledgments or not. To be recognized is just the cherry on top. The mix team spoke very highly of Jack Whittaker, who was the supervising sound editor on the show. Though he was not part of the sound team honored at the CAS Awards, I reached out to him to share his experience and the team. Jack Whittaker: I got the opportunity to work on Masters of the Air through Mike Minkler. Mike has a long-term relationship with Gary Goetzman and Playtone, and they've done many, many projects together. They were looking for a sound supervisor to join and head-up a team. I was connected to Matt Dubin, who is the COO of Formosa, and an old friend of Mike's. We went out for lunch, hit it off, and he asked me if I would like to come onboard, which of course, I was super thrilled. We all got on very well and it was a good working relationship, but this was basically the first time Mike and I had worked together like this. It was a lengthy project. It was very, very heavy and had multiple shooting units. It also had several production mixes, I believe. I was on the show about three months before we started mixing. The effects were very rudimentary when I first started, so there was not really much to see in that term. I was building a team and getting into the sort of DNA of what the sound of the project should be. We really wanted the sound to be realistic and prestigious, not overly designed and flashy. The team was just fantastic to work with and they put so much love and commitment into the show. I am incredibly honored to have been part of this team. Congratulations to the sound team on their well-deserved win for this amazing show!