The CAS are the Cinema Audio Society, founded in 1964. They began holding their own awards ceremonies in 1994. The reason the CAS don’t call themselves a guild (like the WGA, SAG, DGA, etc) is because the CAS are not a trade union. They exist specifically to “share information with Sound Professionals in the Motion Picture and Television Industry,” and for the past decade they’ve decided to join all the other professions in the film industry to honor their members who specialize in Sound Mixing. The perpetual confusion between Sound Mixing and Sound Editing is not helped much by the names they chose to call what they do. Many people are misled into thinking Sound Editing might mean “editing the sounds together” but nope, that’s what the Sound Mixers do. Sound Editors create and record the individual sounds. Sound Mixers then take each of those sounds and blend them all together into a balanced sound design.

2015 CAS Award winners:

Motion Picture, Live Action: Birdman
Motion Pictures, Animated: Big Hero 6

Television Series, 1 Hour: Game of Thrones, The Children
Television Movie or Mini Series: Sherlock: His Last Vow
Television Series, 1/2-Hour: Modern Family, Australia
Variety/Music/Specials: Foo Fighters Sonic Highways, Los Angeles
Technical Achievement Award, Production: Dante and MADI Audio Recorder model 970
Technical Achievement Award, Post Production: iZotope – RX4-Advance
2014 Student Recognition Award: Danny Maurer, University of Colorado Denver

2015 Filmmaker Award: Richard Linklater
2015 Career Achievement: David Macmillan


Nice offer, courtesy of Dolby Atmos sound system:

We have some copies of the movie, John Wick, we’d love to share with you before it’s released to the public on Blu-ray on February 3. In addition to being one of last year’s slickest movies, it’s also the latest Blu-ray released with Dolby Atmos sound. Dolby Atmos, which started in the cinema in 2012 and came to home theater just last year, is multidimensional sound that flows all around to move your mind, body, and soul.

We’ll select a reader’s name at random. To get your name in the hat, post a comment about the most impressive movie soundscape you ever heard — last year or ever.


Rave reviews for the Dolby Atmos soundtrack for John Wick:

“Good grief I love listening to this movie. It sounds amazing.” – Aaron Peck, High Def Digest

“…your home theater experience is amped up here with bullets zinging by you, glass shattering behind you and rain fall all around you. In other words, you’re immersed here. Enjoy it!” – Brian White, Why So Blu


On the wonderful collaboration between the Coens and T Bone Burnnett:

Cinema Audio Society Sound Mixing Noms

Motion Pictures – Live Action:

The Hobbit: An Unexpected Journey
Les Misérables
Zero Dark Thirty

Continue reading…

Sound designer Ben Burtt began his career in 1975, and his innovations were quickly recognized by the Academy who gave him Special Achievement Awards for Star Wars and Raiders of the Lost Ark. Burtt went on to win competitive Oscars for his work on E.T. the Extra-Terrestrial and Indiana Jones and the Last Crusade. In addition to his long-standing collaborations with Steven Spielberg and George Lucas, Burtt also received two Oscar nominations for his work on WALL*E at Pixar, and now counts J.J Abrams as a regular collaborator. Burtt’s most recent work to hit theaters is Lincoln, for which he masterfully researched, recorded, and mixed a cornucopia of period sounds to help delicately recreate the ambiance of the White House and America in the 1860s. In celebration of the success of Lincoln, I recently enjoyed a conversation with Burtt, who spoke to me from Skywalker Sound while he was taking a break from working on next summer’s Star Trek Into Darkness. Here’s what Burtt shared with me about recording a pocketwatch owned by Abraham Lincoln, finding the sound of the 1860s House of Representatives, and crafting Lincoln.

Jackson Truax: At what point are you usually brought onto a film? And what are your first steps in finding the sound design?

Ben Burtt: If I’m sound designing a film, I like to be brought on before filming takes place, to read the script. To look over any artwork or designs visually that…might exist at that point, storyboards or artwork. To talk with the director about what his vision might be for the sounds in the film. What special things he’s expecting. Or special dramatic problems, challenges that he wants to explore, [and] thinks that sound will be an important tool for that… Continue reading…

Flight is an amazing movie for Denzel Washington’s internal struggle but the plane crash is on the high scale of awesome.

Cinema Audio Society adds Scoring Mixers to the CAS Awards Mix

Los Angeles—The Cinema Audio Society, opened the submissions process on October 17 for the CAS Awards with a big change this year—Scoring Mixers will be added to the mix in three categories: Motion Pictures, Television Movie or Mini-Series and DVD Original Programming.

In making this change, CAS President David E. Fluhr, CAS had this to say, “I am delighted that the CAS Board is beginning the expansion of our nominee base this year, starting with Scoring Mixers in three of our categories. Recognizing all mixers who contribute to an outstanding achievement in sound mixing is a long time goal of the CAS, and we will continue moving forward.

Continue reading…

SoundWorks Collection: The Sound of Harry Potter and the Deathly Hallows – Part 2

From our friend Micheal Coleman, a new video from The SoundWorks Collection profiling the sound and music mix in Harry Potter and the Deathly Hallows, Pt 2.

SoundWorks Collection: The Sound of “True Grit” from Michael Coleman on Vimeo.

  • True Grit: Outstanding Acheivement in Sound Mixing for Feature Film
  • Boardwalk Empire: Outstanding Achievement in Sound Mixing for a Television Series
  • Temple Grandin: Outstanding Achievement in Sound Mixing for Television Movie or Mini-Series

Heading David Fincher’s sound team on The Social Network, Sound Re-recording Mixer and Supervisor Sound Editor Ren Kylce and Sound Re-Recording Mixer Michael Semanick walk us through the creative and technical process for designing the audio soundscape. (via Soundworks)

Sci-fi fans were spoiled in 2009 with half a dozen milestone movies ranging in style from classic psychological mind-twisters (Moon), exhilarating reboots (Star Trek), “revolutions in cinema” (Avatar), prawn pwnage directorial debuts (District 9), and fresh injections of ecological infection (Splinter). After a binge as wicked as that, 2010 feels like we’ve been thrown into rehab with only the methadone of Inception to keep FX-addicts from climbing the walls. Our last hope for virtual visual dazzle on the futuristic horizon, Tron Legacy now promises to sound as good as it looks. This soundtrack sample from Daft Punk already feels like amped-up implants of synthrobbing throbotic electrodes.

Multiple eargasms ©.

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