Issue link: https://digital.copcomm.com/i/1543070
C I N E M A A U D I O S O C I E T Y. O R G 39 This year's convention was in Long Beach. This is the first time since 2016 that it's been on the West Coast, so I wanted to go—and I got to participate. It was a great experience. It was big, but I found that everywhere I went, there was someone I knew, and they would introduce me to someone I should know. Or I would meet a representative for a piece of gear or software that I use. There were experts in every area of sound. Capture, playback, manipulation, mixing, and transmission were all represented by the top experts in their fields. There's a great exchange of ideas, and the members are really excited to share them. In this vein of sharing knowledge and starting discussions, I was granted the privilege of presenting and moderating the panel that I put together for last year's Sounding Board, "Dialogue Intelligibility from Capture to Broadcast." One of our members, Jon Greasley CAS MPSE, was involved in the working group and is an editor of AES TD1009. It's the white paper that defines the challenges and possible solutions of delivering clear dialogue and consistent levels to the audience. Jon is involved with the AES and ATSC as co-author and adviser on matters related to loudness specifications and dialogue intelligibility. He's also Vice Chair of the CAS Committee on Industry Technical Standards, and has published multiple articles on these topics. I had neglected to put him on The Sounding Board v4.0 panel, and I made certain not to make that mistake this time. Also on the panel was Jeffrey Reidmiller AMPAS from Dolby Laboratories. With more than 35 years in media technology and creative industries, his technology creations have been recognized with several Emmys for the research and development of dialogue-based loudness measurement and control, network-based audio coding and processing, and compressed domain processing of media. If you had a Dolby LM100 unit plunked down in front of you in 2005, or if you mix to a LKFS number today, you can thank Mr. Reidmiller. Amanda Beggs CAS, representing the first step of on-set capture, has been a production sound mixer in Los Angeles