cinemaaudiosocietyThe Cinema Audio Society has announced the nominees for the 59th Annual CAS Awards for Outstanding Achievement in Sound Mixing. For the past couple of years, scoring mixers have been recognized alongside production, re-recording, ADR and foley mixers. In the Motion Pictures – Live Action category, the scoring mixers honored include Daniel Kresco for Edward Berger’s All Quiet on the Western Front (scored by Volker Bertelmann), Simon Rhodes for James Cameron’s Avatar: The Way of Water (music by Simon Franglen), Geoff Foster for Baz Luhrmann’s Elvis (scored by Elliott Wheeler), Kirsty Whalley for Matt Reeves’ The Batman (music by Michael Giacchino) and Stephen Lipson for Joseph Kosinki’s Top Gun: Maverick (scored by Harold Faltermeyer, Hans Zimmer, Lady Gaga & Lorne Balfe). In the Motion Pictures – Animated category, the nominated scoring mixers are Peter Cobbin for Netflix’s Guillermo del Toro’s Pinocchio (scored by Alexandre Desplat), Warren Brown for Pixar’s Lightyear (music by Michael Giacchino), Alan Meyerson for Illumination Entertainment’s Minions: The Rise of Gru and DreamWorks Animation’s Puss in Boots: The Last Wish (both scored by Heitor Pereira) , as well as Chris Fogel for Pixar’s Turning Red (music by Ludwig Goransson). In the Motion Picture – Documentary category, Greg Hayes received a nomination for mixing Blake Neely’s score for Ryan White’s Good Night Oppy, Louis Schultz was nominated for mixing Terence Blanchard’s music for Apple TV+’s Louis Armstrong’s Black and Blues and Jacob Johnston for mixing Steve Mazzaro’s Hans Zimmer-produced score for Netflix’s The Volcano: Rescue from Whakaari. In the Non-Theatrical Motion Picture or Limited Series category, scoring mixer Scott Michael Smith was recognized for his work on the final episode (Gods and Monsters) of Marvel’s Disney+ series Moon Knight (scored by Hesham Nazih) and Frank Wolf was nominated for Dan Trachtenberg’s Hulu film Prey (music by Sarah Schachner). In the Television Series – 1 Hour category, Phil McGowan received a nomination for the Season 4 episode A Hard Way To Go of Netflix’s Ozark (scored by Danny Bensi & Saunder Jurriaans), Chris Fogel received another nomination for the episode The We We Are from Apple TV+’s Severance (music by Theodore Shapiro) and Hector Carlos Ramirez was recognized for mixing Kyle Dixon’s & Michael Stein’s score for the season 4 episode Chapter Seven: The Massacre at Hawkins Lab of Netflix’s Stranger Things. In the Television Series – 1/2 Hour category, David Wingo received a nomination for mixing his score for the Season 3 episode Starting Now of HBO’s Barry, Alan DeMoss was nominated for the Season 2 episode The Tell of Hulu’s Only Murders in the Building (music by Siddhartha Khosla) and Alvin Wee received a nomination for mixing the final episode (Whose Show Is This?) of Marvel’s Disney+ series She-Hulk: Attorney at Law (scored by Amie Doherty). In the Television Non-Fiction, Variety or Music – Series or Specials category, Scott Sheppard was nominated for mixing David Schwartz’s score for Amy Poehler’s documentary Lucy and Desi and Scott Michael Smith received another nomination for mixing his own & Michael Dean Parson’s score for the Disney+ documentary special Obi-Wan Kenobi: A Jedi’s Return. For a full list of nominations, visit the Cinema Audio Society’s official website. The awards will be presented at the InterContinental in Downtown Los Angeles on March 4, 2023.