Board of Directors


CAS President

Peter Kurland was raised in Nashville and has been in production sound for 36 years including all Coen Brothers films, booming on ‘Blood Simple’ then mixing ‘O Brother’ through “Ballad of Buster Scruggs”. He also mixed “Walk The Line” and many Barry Sonnenfeld films including “Men in Black” I, II. and III. He has won two Grammys, four Oscar nominations, a BAFTA and three CAS Awards. He lives in Nashville where he is Business Agent for IATSE Local 492 when otherwise unemployed.

CAS Vice President

Amanda Beggs CAS has been working as a production sound mixer in LA for over 15 years and works on both features and television. She’s been honored with two CAS Award nominations and two Emmy nominations. She previously served as a board member for the CAS for two terms, and is currently a member of the Sound PGEC for the Television Academy, an executive board member of IATSE Local 695, and a member of AMPAS. The top tenets of the CAS – educating the public and the industry on how quality sound is achieved, enhancing the relationships and respect between post and production sound, advancement of the field of cinematic sound, training the next generation – these are all top priorities for her and, if elected, she looks forward to serving you all on the board once more.

CAS Secretary

Lindsey got her start in sound mixing after graduating from the University of Miami’s Music Engineering program and moving to Los Angeles, where she worked at Lime Studios, a commercial sound facility. From there, she jumped into film and TV at Bad Robot’s in-house post arm. Being a part of franchises like Star Wars and Cloverfield were bucket-list highlights. Following that, she joined Formosa’s broadcast team and won an Emmy for Best Sound Mixing on “Only Murders in the Building.” She also had the fortune of working on location in New Zealand for Amazon’s “The Lord of the Rings: The Rings of Power.” In her spare time, Lindsey enjoys hiking, kayaking, and keeping her husband on his toes.

CAS Treasurer

Since 1984, production sound mixer Lee Orloff, CAS has collaborated on over 75 feature films with many of the industry’s most acclaimed filmmakers, with the most enduring of these working relationships spanning decades. He has been a member of sound teams nominated for seven Academy Awards and four BAFTAs, winning each for his work on Terminator 2: Judgment Day.  In 2019, Orloff was the recipient of the Cinema Audio Society Career Achievement Award. After serving for a dozen years on the AMPAS Sound Branch Executive Committee, he is currently a member of the Academy Museum Sound Branch Subcommittee. Orloff is the Treasurer of Cinema Audio Society. His recent work includes James Gunn’s Guardians of the Galaxy Vol. 3, as well as the upcoming release of Michael Mann’s Ferrari.



Juan Cisneros, a native of Lima, Peru, has achieved remarkable success in the field of production sound mixing since moving to Los Angeles in 1989. With over 26 years of experience, he is a two-time Emmy Award winner for Best Production Sound. His impressive career includes work on acclaimed shows such as House M.D., Real Husbands of Hollywood, Pam & Tommy and Station 19. Cisneros is a respected member of the Academy of Television Arts and Sciences, the Cinema Audio Society, and has served on the l.A.T.S.E local 695 Board of Directors since 2017. His journey stands as a testament to dedication, talent, and the pursuit of excellence in the entertainment industry.


DEVENDRA CLEARY CAS is a Los Angeles based production sound mixer. Recently completed filming ‘Star Wars: Skeleton Crew’ for Lucasfilm, ‘Wolfs’ for Apple Original Films, and ‘Twisters’ for Universal Pictures. He is the Vice President of I.A.T.S.E. Local 695, and currently a midterm Board Member for the Cinema Audio Society. He joined CAS as an associate member in 1999 and then transitioned to full membership in 2008.


Sara’s introduction to recording was bootleg tape trading in college. This led to her enrollment at UCLA for Recording Engineering, Songwriting, and Music Business. Sara was hired by Bill Dooley at Brooklyn Recording in 1998. The first six months of Sara’s studio career was building a studio and learning to troubleshoot. After Brooklyn, Sara was a staff engineer at Track Record, and Devonshire Recording before going freelance. She engineered for Delaney Bramlett at Carnegie Hole, and then segued into post-production. Sara worked as a restoration sound editor at Sound Chamber Mastering for Eric Dosch from 2001-2003 during which time she restored 23 films for MGM in 3-5 languages each. In the summer of 2003 she toured with the Rev. Al Green. She was co-mixing FOH on the West Coast leg and was Al’s Monitor Engineer when he headlined at Monterey Jazz Fest. Sara then switched to Production Sound. She joined 695 in 2005 and CAS in 2016. She is a board member of 695 & the LA chapter of AES.


Richard Lightstone began his career in film sound mixing in Montreal, Canada. Receiving four Genie nominations from the Academy of Canadian Cinema, Why Shoot The Teacher, The Third Walker, Meatballs and Draw Mr. Lightstone relocated to Los Angeles in 1983.
Richard served as the President of the Cinema Audio Society (2003 – 2006) after nineteen years on the board of directors. Mr. Lightstone previously served as a board member of IATSE Local 695 and is the Co-Editor of the 695 Quarterly magazine, Production Sound & Video.


Whit Norris displays an impressive career as a production sound mixer spanning over three decades. A dedicated professional, he has been a member of the Cinema Audio Society (CAS) since 2003, showcasing his commitment to excellence in the field. Additionally, Whit is a proud member of IATSE 695 and IATSE 479, contributing his skills and expertise to these organizations.
His extensive involvement in the industry extends to a decade-long service on the executive board of IATSE 479, underlining his leadership and collaborative spirit. Whit’s portfolio includes noteworthy credits on prominent productions such as “Red One,” “Bad Boys 4,” “Blue Beetle,” “Lyle Lyle Crocodile,” “Hillbilly Elegy,” “Bad Boys for Life,” “Godzilla: King of the Monsters,” “Game Night,” “The Fate of the Furious,” “Passengers,” “The Accountant,” “Ant-Man,” “Furious 7,” “Fast 5,” and “Anchorman 2.”


Phillip Palmer was born in Dallas, TX and graduated from Southern Methodist University with a degree in Film and Television Production. Starting his sound career in music and touring production he migrated early to production sound recording.  After many years as boom operator and sound utility, Phil began his mixing career in 1999.  He has had the pleasure of working with many great filmmakers and continues his pursuit of excellence today.  Phil first served on the Board of Directors in 2010 and is a former Vice President of the CAS.


Past President of the CAS and loves making movies.



Bob is a re-recording mixer and sound designer working in television and documentary film for more than twenty years. In addition to mixing twelve seasons of Deadliest Catch, his credits include ABC’s The Family, Ax Men, Storage Wars, The Colony, 1000 Ways to Die, American Masters: Carol Burnette & Bob Newhart and the feature documentary The Wrecking Crew. He’s recieved twelve Primetime Emmy nominations with two wins in addition to four CAS award wins and two MPSE Golden Reels. He’s served many terms on the Sound Peer Group executive committee and the Board of Directors for the Cinema Audio Society. 


After graduating from USC, Danielle started her career at Henson Recording studios in Los Angeles. There, she cut her teeth alongside music industry giants.
Upon returning to her native Northern California, Skywalker Sound welcomed her home. As a natural born storyteller, her transition from music to the film industry made a lot of sense. Plus – she would find – more channels meant more fun! In her 10+ years on theatrical dubstages, she has contributed to over 80 films and 20 television series and has been fortunate enough to earn 4 Emmy and 6 C.A.S. nominations.


Alexandra Fehrman is a re-recording mixer, and supervising sound editor with more than 15 years of sound department expierence in film and television. She recently mixed two Oscar winning films, serving as final dialouge, 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 recieved 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 dialouge/music mixer. Alexandra began her career in mixing as a teenage, 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.


I studied film at USC and recording arts at Full Sail University. I started my career with an internship at the independent post facility EFX in 1990. I spent the next 6 years as a dialogue editor, ADR supervisor, and Supervising Sound Editor before transitioning full time into re-recording mixing, which I have been doing for over 26 years, Some of my feature credits include “Superbad,” “Bridesmaids,” “The Old Guard” and “Anchorman 2.”  I recently mixed the broadcast series “The Last of Us,” “Hunters,” “Little Fires Everywhere” and “Lovecraft Country.”  I was honored to win a Primetime Emmy for the miniseries “John Adams,” and have been nominated for several other Emmy, BAFTA, and CAS awards.  I am an proud member of the Academy Of Motion Picture Arts and Sciences, the Academy of Television Arts and Sciences and, of course, the Cinema Audio Society. It is an extreme honor to serve my fellow artists as a member of the Board of Directors.


I am a re-recording mixer currently working for Paramount Pictures. I served two terms as CAS president and have been an active member of CAS for over 30 years, including numerous terms as a board member. As co-chair of the CAS Awards committee I was instrumental in the creation of the CAS’s own awards. I am excited to be involved and look forward to the opportunity to serve as a CAS board member.


Doc Kane has been a Sound Mixer at the Walt Disney Studios for over 35 Years and has credits on over 350 Films. In 2016 Doc received the CAS Career Achievement Award.


Christian P. Minkler is the fourth generation in his family to work in motion picture sound. He began his career with Skywalker Sound, Los Angeles, in 1989 and earned his first credit as mixer five years later on The Crow. Shortly thereafter, he got his big break on Oliver Stone’s Natural Born Killers. Since then, he has built diverse credits across all genres and media. Other notable credits include Independence Day, The Alamo, Babel, Once Upon a Time… in Hollywood, and most recently, Greyhound. He received an Oscar nomination for Once Upon a Time… in Hollywood, BAFTA nominations for Babel and Greyhound, and CAS nominations for all three of these films. He is an active member of the AMPAS, CAS, and ATAS. While not at a console exercising his talents as a sound genius on the next blockbuster, he can be found honing his craft by mixing live events, or spending time with his wife of 22 years, and their three daughters.


Karol Urban CAS MPSE is a re-recording mixer serving directors and producers for over 25 years. She is an involved member of her community, having served on the Television Academy’s Governor’s Peer Group for Sound Mixing, been an organizer for The LA Sound Group, and served as a blue-ribbon panel judge for the Motion Picture Sound Editors Golden Reels. Karol acted as content editor of the CAS Quarterly and served as a board member for the Cinema Audio Society and President of the organization from 2019-2023. She enjoys performing educational outreach and advocacy for sound in the entertainment industry as well as moderation, creating podcasts, and writing articles highlighting our members and exploring new technologies. She has appeared on panels for Mix’s Sound for Film Event, EIPMA, MPSE, Soundgirls, and AMPAS.

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