Our January meeting has been rescheduled. Please register below.
It is impossible to convey the impact the wildfires have had on our community. Our hearts go out to everyone who has lost so much in this great city of ours. It is truly inspiring watching how our community has come together to support one another.
As this recovery will be more of a marathon than a sprint, we encourage you to continue reaching out to those in need. As many of you know, Los Angeles Post Production Group has been long time supporters of the Westside Food Bank. As they continue to serve our community, they are seeking monetary donations, weekday volunteers, food donations, as well as wishlist items, which can be purchased online. If you are looking for a place to give, please visit: Westside Food Bank.
Please sign up again for our rescheduled January meeting featuring:
Say What???
A Panel Discussion on Intelligibility
with
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Flat panel TVs, 5.1, Atmos, streaming studios. . . With all these innovations and changes over the last 20 years, why has dialog intelligibility become a subject of concern and discussion among consumers and content creators? This panel will discuss some of the factors that cause viewers at home to feel they have to opt for watching with subtitles on. What are EBU R128 and ITU BS.1770, and why didn’t we need these specifications 20 years ago? What is the correlation between dialog intelligibility & loudness? And what steps can mixers, producers and studios take to make sure that what they hear on the mixing stage will translate to a wide variety of different viewing and listening environments?
Moderator
Marc Fishman, CAS
Marc Fishman, CAS studied film at USC and recording arts at Full Sail University. His career started with an internship at the independent post facility EFX in 1990. He spent the next 6 years as a dialogue editor, ADR supervisor, and Supervising Sound Editor before transitioning full time into re-recording mixing, which he has been doing for over 26 years. Some of his feature credits include Superbad, Bridesmaids, The Old Guard, and Anchorman 2. He recently mixed the broadcast series The Last of Us, Hunters, Little Fires Everywhere, and Lovecraft Country. He was honored to win a Primetime Emmy for the miniseries John Adams and has been nominated for several other Emmy, BAFTA, and CAS awards.
Panelists
Bob Bronow, CAS, MPSE
Bob Bronow, CAS, MPSE is a re-recording mixer and sound designer working in television and film for over thirty years. He has received three Primetime Emmy Awards with an additional eleven nominations, four CAS Award wins and two MPSE Golden Reels. Projects include: Hitler and the Nazis: Evil on Trial, Genius: Einstein and Picasso, Blue Ribbon Baking Championship, Sweethearts, How to Become a Tyrant, American Soul, Barkskins, Tacoma FD, A Christmas Prince, The Last Ship, Graves, Nightcap, Wizard of Paws, Deadliest Catch, Storage Wars, 1000 Ways to Die, Shelter Me, Raise Hell: The Life and Times of Molly Ivins, 36 Seconds: Portrait of a Hate Crime, The Mustangs: America’s Wild Horses and The Wrecking Crew. Bob has also served at the former governor of the Television Academy’s Sound Peer Group, former co-chair of the Primetime Emmy Awards Committee and is a current member of the Sound Peer Group Executive Committee. He also presently serves as Awards Chair of the Cinema Audio Society.
Alexandra Fehrman, CAS
Alexandra Fehrman, CAS is a re-recording mixer and supervising sound editor with more than 15 years of sound department experience in film and television. She recently mixed two Oscar winning films, serving as final dialogue, music and fx re-recording mixer on Sian Heder’s Sundance hit CODA in 2022 and as fx re-recording mixer on The Daniels Everything Everywhere All At Once in 2023. In 2021, Alexandra received her first Emmy nomination for Outstanding Sound Mixing for A Comedy or Drama Series (One Hour) for her work on Amazon’s The Boys, serving as the dialogue/music mixer. Alexandra began her career in mixing as a teenager, following her love for music. While taking guitar lessons she found her way into the recording studio where she immediately fell in love with the art of crafting sound. After working at that local studio, she moved to Los Angeles to study recording engineering and entered the film sound industry soon after.
Jon Greasley, CAS, MPSE
Jon Greasley CAS, MPSE is a Los Angeles-based, Brit-transplant sound designer, re-recording mixer, and general noisemaker with 15+ years of experience designing and mixing for film, TV, and streaming. He has been nominated for multiple awards, been a featured speaker of the CAS/MPSE Sounding Board, Mix Magazine, and Grammy Museum events, is an AES contributor on the topic of intelligibility, and has written multiple articles for the CAS Quarterly and MPSE Wavelength. His credits include Abigail, Godzilla x Kong, Kung Fu Panda 4, Sonic the Hedgehog 3, and Cosmos: Possible Worlds.
