HomeBlog2024 EventsCAS & MPSE Present the So...

CAS & MPSE Present the Sounding Board V4.0

Presenting the Sounding Board v.4.0!

The Sounding Board v 4.0 is a co-produced event between MPSE and CAS. It occurred on October 20th 2024 from 9am-7:30pm PT at USC, Los Angeles, CA. A day of in-person discussions about the practical, creative, & technical art of sound for picture, and the annual Parade of Carts.

Event Sponsors

Opening Remarks

CAS President Peter Kurland CAS and MPSE President David Barber MPSE shared their joy to be with the members in our first year at USC in the School for Cinematic arts. 

They thanked Professors Richard Burton and Midge Costin (a recent CAS new member) for their work with Dean Elizabeth M. Daley and the School of Cinematic Arts for their partnership in helping the event to grow and find a new home. 

The Presidents concluded their remarks with the presentation of a check to Mark Lanza MPSE who was representing EIPMA. 

The Entertainment Industry Professionals Mentoring Alliance, an organization close to the hearts of both the CAS and MPSE organizations. Established after the passing of industry veteran Paul Rodriguez who gave his time and experience so generously to those wanting to learn. EIPMA’s mission, to give career guidance for individuals seeking craft and technical careers in the entertainment industry, is aligned with that of both the MPSE and the CAS.

The Check for $4000, is a rounded up figure from all the ticket sales for the day.

Table of Contents

Communication Breakdown
De-Noise Shoot Out
Calibration & EQ
Vendor Information
Event Galleries
Say What?
It's All Fun & Games
The Mad Hatters
Parade of Carts & Bags
Re-Re-Re Conforming

Panel Discussions

Say What?

Flat panel TVs, 5.1, Atmos, Streaming... why do viewers at home opt for subtitles? Dissecting Dialog intelligibility & loudness. What are EBU R128 and ITU BS.1770, and why didn’t we need them 20 years ago?

It's All Fun & Games!

What goes into making games sound so immersive, impactful, interactive and fun? Join us for a deep conversation about how game audio differs from linear media, and how some of the brightest minds in our field approach working on it!

The Mad Hatters!

The advantages and difficulties of wearing two hats at once. How multi-role professionals find that one role informs another.
 

Parade of Carts & Bags

CAS production sound mixers and MPSE sound effects field recordists share stories of their most challenging exploits while providing tours of their equipment and discussing techniques and tips for capturing some of the best sound in the business.

Best Practices Pavilion

This exciting new offering is designed for focused information sharing in specific areas. Experts in a subject talk about implementing a specific area of their expertise.

RE- RE- RE- Comforming

How to avoid changing too much in an ever-changing world! What can you do to minimize issues in a multi-conform scenario.
 

De-Noise Shoot Out

Artistic Intelligence for dialog work, with AI solutions available, how does a human break through the noise?
 

Communication Breakdown

If your notes are going over like a lead zeppelin, learn tricks to writing & reading production sound notes & improving lines of communication between production & post.
 

Calibration & EQ

How to get the best from your room.
 

Say What?

Panel Info

Flat panel TVs, 5.1, Atmos, Streaming. . . why do viewers at home opt for subtitles? Dissecting Dialog intelligibility & loudness. What are EBU R128 and ITU BS.1770, and why didn’t we need them 20 years ago? 
 

Brian Slack CAS Moderator

Director of Technical Operations.
Deluxe Media

After 38 years of working on movies, Brian Slack has done almost every job in Post Sound including ADR mixing, Re-Recording Mixing, Music Editing, and Sound Supervision. Even as a CAS Award winner, with 4 patents and a history in many sound facilities, he is mostly known for his technical positions. Having been at DTS, Sony, Digital Sound and Picture, Metro-Goldwyn-Mayer, Widget Post, Iosono, Wildfire, and Todd-AO, Brian is now Director of Technical Operations for Deluxe Media.

Devendra Cleary CAS

Production Mixer
Twisters, Gaslit, Wolfs

DEVENDRA CLEARY, CAS is a Los Angeles based production sound mixer who has been a practitioner in his craft since he was 18 years old. He recently completed filming “Star Wars: Skeleton Crew” for Lucasfilm, “Wolfs” for Apple Original Films, and “Twisters” for Universal Pictures. Cleary’s, previous credits include “Gaslit” for Starz, “Dear White People” for Netflix, and “The Last Man on Earth” for FOX just to name a few. Currently, he is serving his second term as Vice President of I.A.T.S.E. Local 695 and has served on it’s Board of Directors since 2015. He joined the Cinema Audio Society as an associate member in 1999 and then transitioned to full membership in 2008. He’s also currently a Board Member serving his first term.

John Creed MPSE

Dialogue Editor Barry, Shotgun, The Walking Dead

John has 9 years of experience working as a dialogue editor. He is a member of the Television Academy and the MPSE. His main focus has been dialogue editorial for broadcast, and he has worked on such projects as “Barry”, “Shogun”, and multiple series from “The Walking Dead” franchise.

Marc Fishman CAS

Re-Recording Mixer
3 Body Problem, The Last of Us, Lovecraft Country

Marc is a Re-Recording Mixer with 28 years of experience. He has mixed a variety of diverse projects, from films like “Superbad”, to “Fury”, to “Bridesmaids”. His broadcast and streaming credits include “3 Body Problem” for Netflix, “Lovecraft Country”, “The Sympathizer” and “The Last of Us” for HBO. He is a proud member of AMPAS, ATAS and the Cinema Audio Society.”

Jeffrey Reidmiller

VP Advance Media
Systems Group
Dolby Laboratories

Jeffrey Riedmiller is currently Vice President of the Advanced Media Systems Group at Dolby Laboratories where he leads a global team of researchers and innovators focused on next-generation media experiences powered by cloud and network technologies. With over 30 years of experience in the media technology and creative industries, his technology creations have received multiple Emmy Awards for groundbreaking achievements in dialogue-based loudness measurement and control, network-based audio coding and processing, and compressed domain processing of media. Jeffrey is a SMPTE Fellow and has published in AES, SMPTE, IEEE, and is inventor/co-inventor on 39 patent families in multimedia signal processing, dialogue-based loudness estimation/control, multisource media coding, and related systems.

Ozzie Sutherland CAS

Lead, Audio Workflows | Advanced Imaging & Sound Systems, Workflow & Technolgy Netflix

Ozzie Sutherland is a globally recognized leader in Pro-Audio solutions, with a career that spans over two decades. Currently in his sixth year with Netflix, he serves as Lead of Audio Workflows on the Advanced Imaging and Sound Team. Ozzie excels at tackling complex, high-pressure challenges across mix sessions, virtual production sets, and more – providing innovative, efficient solutions. His technical expertise, combined with a collaborative and approachable style, has earned him the trust of top mixers, sound designers, and emerging talents alike, positioning him as a key figure in the ever-evolving world of audio innovation.

It's All Fun & Games

Panel Info

What goes into making games sound so immersive, impactful, interactive and fun? Join us for a deep conversation about how game audio differs from linear media, and how some of the brightest minds in our field approach working on it!
 

Eric Marks MPSE Moderator

Supervising Sound Editor

Eric is a Supervising Sound Editor with over thirteen years of post-production sound experience, who crafts rich, dramatic mixes for Netflix, Amazon, Disney, E3 trailers and Super Bowl commercials. He is also the Vice President of the Motion Picture Sound Editors, where his work has been nominated for five MPSE Golden Reel Awards.

After graduating with an MFA from USC’s School of Cinematic Arts, Eric’s audio career began at Electronic Arts, where he mixed over twenty trailers for “Mass Effect”, “Dragon Age” and other AAA studio titles. He also designed and mixed interactive audio, where he edited, implemented and mixed thousands of sounds for “Command & Conquer” (2013).
 
Eric then moved to narrative post-production sound, including becoming the Supervising Sound Editor for “Rainbow Brite” (2014), an animated series produced by Hallmark Entertainment. He has since worked on hundreds of commercials, branded content videos, network TV shows, films and video game trailers. He’s been the lead re-recording mixer on broadcast content for the NFL Network, Star Wars properties, Warner Bros, 20th Century Fox, Lionsgate, PBS, HGTV, Mattel, Amazon, Netflix, EA and Disney. Thanks to his extensive background in film, Eric prioritizes story and dramatic stakes above all else. He aims to give every project emotional context, weight and resonance.

Brad Beaumont

Sr. Manager of Sound Design, Riot Games

Brad grew up in northeast Ohio before moving to L.A. in 2004 to pursue his dreams of working in sound for entertainment. Prior to Riot, Brad worked at Soundelux DMG for 9 years where he leveraged his sound design talents to help create in-game and cinematic sound design for titles such as the “Fable”, “Bayonetta”, “Metal Gear, Gears of War”, “Resident Evil” and “Devil May Cry” franchises.

Currently, he is serving as a Supervising Sound Editor and Sound Designer for season 2 of “Arcane – League of Legends” (Netflix.) He’s been with Riot for 11 years where he has worked as a Senior Sound Designer and Audio Lead prior to taking the role of Audio Director for “League of Legends“, from 2017 to 2019. Brad joined the “Arcane” team in 2019 which he describes as a once-in-a-lifetime dream gig.
 
Brad is passionate about creating deep and iconic worlds with sound, quality of life advocacy for sound professionals, servant leadership, mentorship & knowledge sharing.

Scott Martin Gershin MPSE

Sound Supervisor, Sound Designer, Mixer Creative Director of Sound Lab

Sound Supervisor, Sound Designer, Mixer & Creative Director of Sound Lab, Scott has been active in the film and gaming community for over two decades. With films such as “Transformers One”, “Night Crawler”, “Pacific Rim”, “Hellboy 2”, “Chronicles of Riddick”, “Team America”, “Shrek”, “Star Trek”, “American Beauty”, and Guillermo del Toro’s “Pinocchio”, which recently won the Oscar for Best Animated Film. As Creative Director, Scott has designed and contributed his sound designs for most of the major game companies such as Capcom, Platinum, Riot, Square Enix, Disney, Microsoft, Activision, Sony, He has garnered an impressive number of awards and nominations: 13 MPSE Golden Reel awards, numerous GANG and TEC awards, and BAFTA nominations. Scott has also lent his talents to numerous projects that have won both DICE and Oscar awards.

Scott has studied music since he was 10-years-old and can be identified as that kid you grew up with who made sound effects and creature noises with his mouth. Little did he know it would lead him into a career doing just that. His talent for creating personalities with his voice has been tapped for such memorable movie characters such as Flubber, Disney’s Herbie, Reapers in “Blade II”, Dog Fish in “Pinocchio”, Leather Back in “Pacific Rim”, the voice of leather face the dragon in “Shrek”, and Kirchek in “Tarzan”.

After attending Berklee College of Music, Scott made a name for himself as one of the pioneers of audio technology in film and games. Using what he learned as a synth programmer and recording engineer, he was one of the first to utilize computers to edit and design sound against picture. He has embraced technology to better help him tell stories through audio and take audiences on an immersive journey. Scott considers himself an audio photographer who captures the sounds of life and manipulates those sounds in new and exciting ways enabling him to do, what he considers, currently some of his best work.
 
Previously, Scott founded and was executive creative director of Soundelux Design Music Group which was part of Soundelux and created the Sound Design for Games Division at Formosa Group before joining Keywords Studios.

Leilani Ramirez MPSE

Director of Dialogue SIE/PlayStation Studios Sound

Leilani Ramirez is the Director of Dialogue at SIE/PlayStation Studios Sound.

She has been in the game audio industry for 20+ years, with a focus on Dialogue throughout her career. Working for and with a variety of game studios such as Electronic Arts, Activision, and PlayStation, Leilani has been a Dialogue Supervisor for EA’s “Medal of Honor” franchise, Naughty Dog’s “Uncharted 3”, and Marvel’s “Spider-Man” (2018) with Insomniac Games. Her achievements include an MPSE Golden Reel & BAFTA for her supervision on the 2018 “God of War” with Sony Santa Monica.

Leilani currently heads the Dialogue group within PlayStation Studios Sound and leads an award-winning global team that includes Dialogue Supervisors, Dialogue Designers and Recording Engineers.

The Mad Hatters!

Panel Info

The advantages and difficulties of wearing two hats at once. How multi-role professionals find that one role informs another.
 
 

Joe Dzuban CAS Moderator

Supervising Sound Editor and Re-Recording Mixer

Joe Dzuban has collaborated with incredible talent across a diverse range of projects. He began his career as a mix tech at Todd-AO before transitioning into the creative roles of supervising and mixing films. From documentaries and romantic comedies to haunted house thrillers and blockbuster action films, his work is marked by a deep commitment to crafting soundtracks that elevate each story. Most recently, he supervised, designed and mixed on the Warner Brother’s film AQUAMAN AND THE LOST KINGDOM.

Kate Finan CAS MPSE

Re-Recording Mixer, & Supervising Sound Editor Co-owner, Boom Box Post

Kate Finan began her career with a Bachelor of Science in Sound Recording Technology from DePaul University. Over the next ten years, she worked her way up to the position of supervising sound editor at Warner Bros. Studios. In 2014, Kate and her business partner, Jeff Shiffman, started Boom Box Post, a animation-focused post-production sound studio located in Burbank, CA.


Kate has been nominated for seven MPSE Golden Reel Awards for Outstanding Achievement in Sound Editing and five Daytime Emmy Awards for Outstanding Sound Editing and Sound Mixing.

Jamie Hardt CAS MPSE

Sound Designer and
Re-Recording Mixer

JAMIE HARDT (he/him) is a Los Angeles-based sound designer and re-recording mixer with over twenty years of experience on films and episodic content, most recently mixing MONSTERS: LYLE AND ERIK MENENDEZ for Netflix, and the upcoming SAY NOTHING limited series for FX Networks. Jamie has supervised and mixed over a dozen feature films including INSIDIOUS: THE LAST KEY, TRUTH OR DARE and FANTASY ISLAND, and has worked as a sound effects editor on dozens of feature films, including SPIDER-MAN: NO WAY HOME, THE HURT LOCKER, 2012, ZERO DARK THIRTY and FURY. In addition to features and television, Jamie has designed the soundscapes for dozens of music videos, from artists including Usher, Kid Cudi, Dua Lipa and Tyla; has sound designed national advertising campaigns for clients including Wal-Mart, Square and the National Guard; and still finds time to do what he loves, working with new filmmakers on short films and independent features.

Tony Lamberti CAS MPSE

Supervising Sound Editor
and Re-Recording Mixer

Tony Lamberti has worked in motion picture and television sound for more than 30 years. He is a two-time Emmy Award winner, and earned an Academy Award nomination for Quentin Tarantino’s Inglourious Basterds. After earning a degree in music production and engineering from Berklee College of Music, Lamberti began his career as a sound editor in Hollywood. He later joined Soundelux, where he became a sound designer, and then spent 12 years at Todd-AO as a re-recording mixer. His Emmy Awards came for the long-form television projects John Adams (2008) and And Starring Pancho Villa as Himself (2003). His almost 200 motion picture and television credits also include Tarantino’s Django Unchained, Spider-man: Into the Spider-verse, Green Book, Spiderman: Far From Home and yet to be released Venom: The Last Dance. Most recently he received a BAFTA nomination for his work on Michael Mann’s Ferrari.
He is a member of the Academy of Motion Picture Arts and Sciences.

Jamey Scott MPSE

Supervising Sound Designer
and Re-Recording Mixer

Jamey Scott is a roaming sound mercenary, currently working primarily with Randy Thom at Skywalker Sound. He is known for being a highly accomplished and versatile talent who is as technically proficient as he is creative. He got his start in the game industry in 1995, working on major game industry franchises such as Unreal Tournament and Gears of War. He moved to Los Angeles to pursue working in film/TV in 2003 and spent 8 years working on independent features while climbing the ranks of industry freelancers. He joined the union to work on his first studio film opportunity in 2011 (Total Recall) with Stephen Flick and has been working primarily on studio features ever since. Some recent credits include The Wild Robot, Ultraman Rising, The Super Mario Bros Movie, and Raised By Wolves. He has a case full of industry awards including multiple Emmys and many Golden Reels.

Parade of Carts & Bags

Panel Info

CAS production sound mixers and MPSE sound effects field recordists share stories of their most challenging exploits while providing tours of their equipment and discussing techniques and tips for capturing some of the best sound in the business.
 
 

David Husby CAS

Production Sound Mixer

David Husby IMDb

Fernando Muga CAS

Production Sound Mixer

Fernando Muga CAS, has been working on production sound since he was 27 from from all aspects as utility, ENG, boom op and now production sound mixer. Originally from Ecuador he’s fluently bilingual English/Spanish, attended CSUN in the film/TV film department. He has been a full member of Cinema Audio Society and I.A.T.S.E 695 since 2010 while continuing to reside in Burbank, CA.


– IMDb Mini Biography By: Fernando Muga

Jamie Gambell CAS

Production Sound Mixer

Jamie Gambell was drawn to sound in cinema from the moment a Star Destroyer flew over his head in the dark Hackney Odeon.

Starting his career in the UK, and moving to Los Angeles, USA, he has been fortunate enough to work with some incredibly talented collaborators over the years, striving to preserve performance and to capture live sound wherever possible.

He lives in LA with his wife and two children, and enjoys good coffee and John Le Carré novels.


– IMDb Mini Biography By: Jamie Gambell

Robert Sharman CAS

Production Sound Mixer

Robert has over 30 years experience in film and television production. He was born in London, and moved to the United States at age 13 to Cape Cod, Massachusetts. He was involved in theatrical productions in primary school in the UK, and continued on throughout high school in the US, performing in comedies and dramas in school as well as in community theatres throughout Cape Cod.
 
Robert also went behind the scenes as a stage manager on a few community theatre productions. At 17, Robert went to USC, graduating in 1990 with a double major in creative writing and theatre. His first job came in as Pauly Shore’s stand-in on “Encino Man”, performing a couple of times with Pauly on his TV show “Totally Pauly”. Robert soon discovered he belonged behind the camera, and eventually found his way to becoming a sound mixer, owing the love of the job to the very first sound mixer he met, Academy Award Nominee Robert Wald.
 
Robert has worked on a wide variety of productions around the country and the world, including Los Angeles, New Orleans, Detroit, London, Georgia (no – the other one!!), South Africa, Malta, Columbia, and Mexico.

– IMDb Mini Biography By: Robert Sharman

Michael O’Heney CAS

Production Sound Mixer

Michael is a graduate of Montclair State University in New Jersey where he earned a BA in English Literature. He is now a 12 year veteran of the Los Angeles film industry and a member in good standing with ITASE Local 695 Sound Engineers Union. Michael is grateful everyday for working and living in the wonderful city of Los Angeles. He is going on three years of marriage and looks forward to what the future brings.


– IMDb Mini Biography By: Michael O’Heney

Eric Ballew

Production Sound Mixer

Eric Ballew IMDb

Scott Harber CAS

Production Sound Mixer

Scott Harber IMDb

Benedict Green

Production Sound Mixer

No bio

Re- Re- Re- Conforming

Panel Info

How to avoid changing too much in an ever-changing world! What can you do to minimize issues in a multi-conform scenario.
 
 

Stephanie Brown MPSE

DIA/ADR
Supervisor

Stephanie Brown has been in the sound industry for 25 years. She started off as an intern and worked her way up to being a DIA/ADR supervisor. She primarily works in features with her most recent projects being DC League of Superpets, Peter Pan and Wendy, and The Haunter Mansion. When not supervising or editing, she assists in foreign language mixing at Warner Bros.

Bill Dean

Supervising Sound Editor
and Sound Designer

Bill is a Supervising Sound Editor and Sound Designer who recently won and Emmy as part of the terrific Ripley sound team. He has 4 MPSE Golden reels and over 90 feature film credits. He grew up in Roswell, New Mexico and had no encounters with extraterrestrials… he’s aware of. Bill believes a film really starts to live when the post-production sound process begins and he loves to be integral in helping filmmakers use sound to maximum impact in their storytelling.


Select awards
· 1 Emmy Nomination (1 win)
· 2 HPA nominations
· 10 Golden Reel Nominations (4 wins)

Eryne Prine

Sound
Editor

With over 20 years of experience in post-production sound, I’ve contributed to feature films, TV shows, and documentaries. My roles have included assistant sound editor, Foley supervisor, and SFX editor. More recently, I’ve focused on honing my skills in dialogue and ADR editing, continually striving to expand my expertise and adapt in this ever-changing industry.

Communication Breakdown

Panel Info

If your notes are going over like a lead zeppelin… learn some tricks to writing and reading production sound notes and improving lines of communication between production and post.
 
 

Amanda Beggs CAS

Production Sound Mixer

Amanda Beggs CAS has been working as a production sound mixer in Los Angeles for almost 20 years and works on both features and television. She’s been honored with two CAS Award nominations and two Emmy nominations. She is currently the Vice President of the Cinema Audio Society, and is a member of the Sound PGEC for the Television Academy, an executive board member of IATSE Local 695, and a member of Academy of Motion Picture Arts & Sciences. Most recent projects include Jeff Nichols’ film The Bikeriders, the upcoming Jordan Peele-produced film Him, and Kristen Stewart’s directorial debut The Chronology of Water. She’s currently mixing the first season of Ryan Murphy’s new show All’s Fair.

Brent Kiser CAS MPSE

Supervising Sound Editor & Designer

Brent Kiser is an Emmy-winning sound designer and the founder of post sound company Unbridled Sound based in Los Angeles. He is a graduate of the Savannah College of Art & Design and is a Kentucky native. His 18 year career in sound spans feature films, TV series and documentaries. Brent recently served as the sound supervisor and re-recording mixer on A24’s Oscar Winning drama Everything Everywhere All at Once starring Michelle Yeoh, Jamie Lee Curtis and Ke Huy Quan from directors Dan Kwan and Daniel Scheinert (the Daniels). Brent first worked with the Daniels on their Gotham Award and Indie Spirit Award-nominated film Swiss Army Man starring Daniel Radcliffe. He also served as the sound supervisor and re-recording mixer for various films and television series including A24’s first musical Dicks: The Musical; Mel Brooks’ anticipated sequel History Of The World Part II; Alma Ha’rel’s breakout feature Honey Boy which won the Sundance Special Jury Prize among several other notable awards; Netflix’s Muderville and Untold docuseries; and the 2021 Sundance comedy film Together Together. Brent’s work on the History Channel’s Gettysburg (2011) earned him the primetime Emmy Award for Outstanding Sound Editing for Nonfiction Programming, and the MPSE Golden Reel Award for Best Sound Editing – Long Form Documentary. He later received his second Emmy nomination as the sound supervisor of Netflix’s Wild Wild Country, which won the Emmy for Outstanding Documentary or Nonfiction Series and was executive produced by the Duplass Brothers and the Way Brothers. In addition to film and television, Brent’s past credits include commercials, podcasts, art installations, and visual albums such as Frank Ocean’s Endless.

De-Noise Shoot Out

Panel Info

Artistic Intelligence for dialog work, with AI solutions available, how does a human break through the noise?
 
 

Bob Bronow CAS MPSE

Re-Recording Mixer

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.

Calibration & EQ

Panel Info

How to get the best from your room.
 
 

Bryan Pennington CAS

Dolby Laboratories – Senior Staff Engineer

Bryan Pennington started in music and post audio over 27 years ago as a mixer and editor in New Orleans. He then came to work for Dolby Laboratories in Los Angeles, and for the past 26 years he has printmastered over 1600 films and has probably tuned just as many rooms. Being a part of the team that helps tune the four Academy Theaters every year, as well as countless dub stages, premiers, press screenings, music studios (and now even a few live music venues), he has garnered a good bit of knowledge that he would like to share with others regarding the ins and outs of setting up and calibrating rooms for any scale and scope of work.

Vendor Information

Chat with a select group of venders who are participatory in the growth and development of the sound industry. Only game changing companies or those with evolutionary products included!
 

Event Sponsors

Other Exhibitors

Shopping Basket