Board of Directors
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
Steve Venezia, CAS is an independent sound engineer working in both production and post-production. Early in his career, he worked for 16 years in both live music production and studio recording; working with numerous artists including Frank Zappa, The Pretenders, Dire Straits, Chaka Khan, INXS, Howard Jones and Tom Waits. He has worked with ABC and AMPAS on the audio production for 16 Oscar broadcasts. Most recently he was Sr. Director of Worldwide Production and Post-Production Services at Dolby where he worked for over 22 years covering sound mixing and advancements in audio technologies. During his tenure at Dolby, he worked closely with the Advanced Television Systems Committee (ATSC) on the audio standards for digital television, and the launch of 5.1 digital surround sound. More recently, he worked on the development of Dolby Atmos for cinema and broadcast. He is a member of CAS, AMPAS, SMPTE, and is currently Vice-Chair of the Television Academy. He is an officer of the Cinema Audio Society currently serving as Vice President. He holds 2 patents for digital audio processing covering loudness measurement and digital audio processing.
Frank Morrone is a re-recording mixer who has mixed sound for television and films including LOST, Sleepy Hollow, The Kennedys, Ransom, and Oscar-winning When We Were Kings. Frank has served as President of the Motion Picture Sound Editors and is Sound Governor at The Television Academy as well as serving on the MPEG board of directors.
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.
WILLIE D. BURTON
With over 35 years of sound mixing under his belt, Burton was first nominated for an Oscar in 1978 for THE BUDDY HOLLY STORY”. In 1983 he won the BAFTA (British Academy Film and Television Award) for WAR GAMES”. He received an Oscar for Best Sound in 1989 for the film, BIRD”. In 2005 he received The Cinema Audio Society Career Achievement Award. Burton has also received Academy Award nominations for WAR GAMES”, ALTERED STATES”, THE SHAWSHANK REDEMPTION”, THE GREEN MILE” and DREAMGIRLS”. He won an Academy Award for Outstanding Sound Mixing for his work on DREAMGIRLS in 2005.
Devendra Cleary CAS is a Los Angeles based production sound mixer. Recently nominated for an Emmy for the Starz limited series ‘Gaslit’. Currently filming ‘Star Wars: Skeleton Crew’ for Lucasfilm. He is the Vice President of I.A.T.S.E. Local 695 and a frequent contributor to the CAS Quarterly. He joined as an associate member in 1999 and then as a full member 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.
PHILLIP W. PALMER
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.
Stephen A. Tibbo, CAS is a production sound mixer and re-recording mixer. He is a member of both local 695 and local 700. Stephen currently works on the television show “Modern Family.” In addition to his work on set, Stephen works as an ADR and re-recording mixer on feature films and television. He has won three Primetime Emmy Awards and five CAS awards for production sound mixing.
Past President of the CAS and loves making movies.
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.
David Bondelevitch is a Re-recording Mixer. He was on the CAS Board of Directors for 16 years, including terming out as VP, and a decade as Secretary. He is past President of the MPSE. His most recent projects include the doc short El Vacio, about immigrant sanctuaries. The film was on the front page of the digital New York Times. He also mixed Southwest of Salem, which won a Peabody Award. Bondelevitch won a Primetime Emmy for Sound on the TNT movie The Hunley. He won a Heartland Emmy as Associate Producer on the film Driven to Ride and was also nominated for Audio. David is an Associate Professor in the Recording Arts Program at the University of Colorado, Denver. He is a member ATAS, NARAS, AFM Local 47, Film Independent, the International Documentary Association, and BMI. David holds a BS in Jazz Composition at the Berklee College of music and an MFA in Cinema Production from the USC School of Cinematic Arts.
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.
Tom Fleischman began mixing feature films under the tutelage of New York rerecording mixer Richard (Dick) Vorisek in 1979. In 1981 Tom and Dick were nominated for an Academy Award for Best Sound for their work on Warren Beatty’s Reds. Since then Tom has mixed nearly 200 features, documentaries, commercials, and television projects. He has developed long-term working relationships with many directors, earned 4 more Academy Award nominations for Jonathan Demme’s The Silence of the Lambs (1991), Martin Scorsese’s Gangs Of New York (2002), The Aviator (2004), and won for Hugo (2012). In television, Tom has won 5 Emmy Awards, 5 CAS Awards, and a BAFTA Award for sound mixing. Tom has been mixing on Stage B at Soundtrack Film and Television in New York since 2004.
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.
Sherry Klein is a Re-Recording Mixer for Television/ Film and currently with Smart Post Sound in Burbank, CA. She first became “aware” of audio while studying Arranging and Composition at Berklee in Boston. While recording a term project in what was then a little 2 track studio, she became fascinated with the world of sound…. this led her from musician, to live sound, Record Engineering and finally into Post Mixing. She considers herself very lucky to be working within this talented community of people who have continually inspired her to refine my craft and grow my love of mixing.
CHRISTIAN P. MINKLER
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.