Issue link: https://digital.copcomm.com/i/908245
40 F A L L 2 0 1 7 C A S Q U A R T E R L Y mix. Andrew De Cristofaro pointed out that, "We need to make this a special experience to go to the theater and see on the big screen." Dolby Atmos is a powerful tool that can encourage people to go to theaters rather than wait until it is available for home viewing. Julian Slater stated simply that, "It's just more speakers to pan into," adding that workflow issues are harder than the actual mix, as it can take much longer to prep for an immersive mix than for a 5.1. Tony Lamberti pointed out that, in an effort to streamline the team's workflow, Spider- Man: Homecoming was mixed virtually, with the final Dolby Atmos mix being the only thing that was printed. Chris Howland CAS, President of CAS Mark Ulano, and Paul Vik Marshall CAS greet the crowd. Photo: Katrina Marcinowski Willie Burton CAS and Paul Vik Marshall CAS Amanda Beggs CAS and Pete Damski CAS Adam Imada, Gene Iacomo, Tim Holly, and Phillip Palmer Jeff Wexler CAS Eli Moskowitz and Chris Howland CAS Devendra Cleary CAS and Glen Trew CAS All photos on this page by David Bondelevitch CAS MPSE, except as noted. CAS's 'Production Sound Rigs: Carts and Bags' From Mic to Mix (sponsored by CAS) Moderator: Karol Urban CAS MPSE Panelists: Steve Tibbo CAS, Ed Moskowitz CAS, Scott Millan CAS, Jesse Ehredt, Steve Rivkin ACE, Teri E. Dorman This discussion was about workflow and the benefit of interdepartmental communication based on the various projects the panelists have worked on. This was a good discussion on what it's like to start with the files in the field, bring them into picture editing, and then disseminate them through the post sound departments. Ehredt, an assistant sound editor and mix tech, was able to contribute a lot of information on the technical side of the translation of production to post.