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With a career that spans back to his days in recording more than a decade ago, Production Sound Mixer José Frías has long-held a love for the audio industry. Although he got his start in music, he’s held many different audio production roles, which has led to his working on projects for high-profile clients, such as Motorola, IBM, ESPN, Time Magazine and more.

This article describes a comprehensive dailies workflow that can make life simpler for the editor and the sound mixer, while maintaining the highest quality. Why does it matter? While our various video post applications have gotten much better and deal with large files and many takes quite well, workflows are still the glue that brings it all together.

Tammy Douglas, the location sound mixer on A24’s The Humans, faced a lot of unique challenges on this project. This film was done largely in wide shots which meant very few shots were boomable and often the actors were speaking over each other which made it challenging from a sound perspective. This meant that she had to be creative in how she set mics up around the room and relied heavily on body mics.

Supervising Sound Editor and Re-Recording Mixer Lewis Goldstein, worked on two of Netflix’s most recent original comedies: Russian Doll Season 2 and upcoming mini-series The Pentaverate. He recently spoke with ProductionHUB about his editing and mixing process.

Tammy Douglas, the location sound mixer on A24’s The Humans, faced a lot of unique challenges on this project. This film was done largely in wide shots which meant very few shots were boomable and often the actors were speaking over each other which made it challenging from a sound perspective. What did she do? She had to be creative in how she set mics up around the room and relied heavily on body mics.

Supervising Sound Editor Mandell Winter has supervised sound editing and mixing teams for Apple's Defending Jacob, HBO's Outsider, & Quibi's #FreeRayshawn. Mandell received two Emmy nominations last year for his work on HBO's Deadwood: The Movie and Season 3 of HBO's True Detective. Additionally, in 2019 he received two MPSE Golden Reel Award nominations for True Detective, a third for Deadwood, and a fourth for What's My Name: Muhammad Ali. He talked exclusively to ProductionHUB about how COVID has altered his day-to-day, breaking into the industry (accidentally!) and what film made him tear up.

Award-winning Filmmaker, Barbara Green, was on the lookout for a mixer to capture dynamic audio for her recent documentary, Packed In A Trunk: The Lost Art of Edith Lake Wilkinson, and she found exactly what she was looking for once she chose Sound Devices' MixPre-D Compact Field Mixer.

If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.

In our latest interview, we spoke with the supervising sound editor/re-recording mixer, Luciano Vignola, and re-recording mixer, Martin Czembor, for Apple TV+’s new series, Pachinko.