Issue link: https://digital.copcomm.com/i/1543070
40 S P R I N G 2 0 2 6 I C A S Q U A R T E R L Y for almost 20 years, working on both features and television. She's been honored with two CAS Award nominations and two Emmy nominations. She is currently Vice President of the Cinema Audio Society, an Executive Board member of IATSE Local 695, and a member of both the Academy of Motion Picture Arts and Sciences and the TV Academy. Doug Mountain represented the next step, dialogue editorial. Doug is a supervising sound editor, dialogue editor, and re-recording mixer based in Los Angeles. He has recorded and mixed audio for film, television, and music for more than 45 years. A restoration and cleanup specialist for studio legacy content, he has upmixed more than 40 feature films from their original format to Dolby Atmos. He remains one of the world's leading authorities on digital recording and digital mixing technologies, and he really knows his way around dialogue cleanup. Finally, we had Marc Fishman CAS representing the mix. Marc has been a re-recording mixer for almost 30 years. He has won two Primetime Emmys and been nominated nine times for his work. He has also been nominated for five CAS Awards, with one win. In addition to serving on the ATAS Sound Mixing Peer Group Executive Committee, he also sits on the Board of Directors for the CAS, where he co-chairs the Industry Technical Standards Committee with Jon Greasley. This panel recently presented a paper to the ATSC working group, which is in the process of updating and modifying the CALM Act. I don't know when he finds the time to sleep! It truly was a panel of experts, and it was a privilege to moderate this amazing discussion, which was well received by those in attendance. (We even got a few laughs, which always makes me happy!) The day before our panel, Robert Bleidt, one of the authors of AES TD1009, along with Jon Greasley, gave a panel called "Improving Dialogue Intelligibility in Media: A Report from AES Broadcast and Online Delivery Technical Committee." Also on the panel was Scott Kramer, Manager of Sound Technology at Netflix, Scott Norcross from Dolby, and Richard Friedel, EVP at Fox Corporation. This panel was more about the content of the white paper. I definitely took notes for questions for my panel. While there, I met Freddy Vinehill-Cliffe who is a product specialist at Nugen Audio. Nugen has introduced their dialogue intelligibility meter, the DialogCheck plugin. We had a lively discussion about the usefulness of such a meter and how it should absolutely be kept out of the hands of the QC departments of the broadcast companies. There were actually a few symposiums on different aspects of dialogue intelligibility, even one on PA systems. There were so many more panels. Rick Allen, a top sound designer for film, television, video games, and software, and professor at CRAS, gave a talk with video demonstrations on recording and manipulating sound. Living in the desert, he has the room to blow a lot of stuff up, take a violin bow to a cactus needle, and mic a pin Rick Allen and Daniel Keller during their panel on Sound Design In time for Christmas, Rick Allen, Lenise Bent, and Charles Dayton CAS MPSE at one of the AES after-parties doing research on what Santa Claus hears when coming down the chimney. Initial meeting of Hollywood Sapphire Group, February 13, 1947