What Our Members Do

Where are you currently employed?

Disney/20th Television.

Current projects?

“The Chi” on Showtime.

Describe your job.

As an assistant editor in scripted TV, I primarily use Avid Media Composer editing software. I’m responsible for organizing and labeling footage and elements in the project to ensure a smooth workflow for the editor. Once scenes are assembled, I’ll assist in sound design and scoring temp music.

Occasionally, I’ll create temporary composites for visual effect shots that help tell the story. For shows heavy with visual effects, if there’s a dedicated visual effects editor or assistant, I’ll work closely with them to be sure they have all the materials they need to create temp visual effects and manage the effects in the project.

While my role focuses on supporting the project and creating outputs for review, I may also contribute creatively by editing scenes and addressing notes from the director or producers. After the cut is locked, I’ll work on turning over the project to the online, visual effects, sound, and music teams to begin mastering the show. During this phase, I help the post-producing team finalize each episode. Overall, my job is to help support the editor and streamline the editing process.

How did you first become interested in this line of work?

Honestly, it happened by chance. Editing wasn’t always a clear passion for me. We didn’t have an official editing program in college, but there was a summer course on Final Cut Pro. I took it because I wanted to work in the film industry, though I hadn’t yet decided on a specific department. I was in the Media Arts & Technology program where the classes focused mostly on film pre-production and production. When they offered a post-production class, I decided to give it a chance and instantly fell in love with editing. Seeing how differently my classmates cut the same footage amazed me; it highlighted the unique creative possibilities within editing. I left the class feeling inspired and eager to do more. That’s when I knew I wanted to become an editor.

Who gave you your first break?

My first year at EditFest, I met Sarah E. Williams, an assistant editor who mentioned that her show was looking for more assistant editors. She connected me to Frank Salinas, the show’s supervising producer with years of post-production experience, and he hired me for my first unscripted TV show, “S.T.R.O.N.G.,” on NBC. It was a fitness competition show hosted by former U.S. volleyball champion Gabrielle Reece

What was your first union job?

The unscripted show that had hired me! A few weeks into production, the show turned union — so that became my first union job! Anyone working for a company when it goes union instantly becomes a union member. Because I was “grandfathered” in, my initiation fee was waived and I could work around some of the qualifications typically required to join. To join the Industry Experience Roster and the Editor’s Guild, you need 100 days of non-union work experience and proof of payment. My work experience before this union job didn’t meet the requirements of either the Local 700 Agreement or the Videotape Supplemental Agreement, so I had no work days that would qualify me. But because I was hired through this union job, I could submit my first 100 days of work on the show to complete my membership.

What credits or projects are you proudest of, and why?

I’m very proud of Season 1 of “David Makes Man.” I had an incredible time working on this project and the team was fantastic. The writing, directing, and editing were beautifully executed. It was a coming-of-age drama about David, a highly gifted student who faces the harsh realities of his home life and poor neighborhood while trying to balance schoolwork. It felt unique to me because stories about middle schoolers are often shown in a more light-hearted way. “David Makes Man” was dramatized and stylized in a more artistic way that you don’t see in many teenage coming-of-age stories. This project moved me, and I’m grateful to have been a part of it.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

My biggest challenge has been reading the room when working with producers. I tend to be reserved in team settings, especially in person (as opposed to Zoom). There have been times when I wanted to contribute but felt too self-conscious to speak up. I’ve learned that understanding how to read a room is key, especially knowing when to speak up at the right moment in a way that best supports my editor.

What was the most fun you’ve had at work?

Working on “Abbott Elementary.” It was my first time working at the Warner Bros. lot and I loved being so close to our sets. The penultimate episode of Season 3 was set at the historic Smith Memorial Playground in Philadelphia, one of the first playgrounds in the country. The production team recreated the iconic 44-foot wooden slide, which is about 12 feet wide and designed for multiple kids to ride down at once. After we finished filming, the cast and crew were invited to try it out. I went down the slide three or four times. It was such a blast and made me feel like a kid again!

Jobwise, what do you hope to be doing five years from now?

In five years, I hope to have booked a full-time editing position.

What are your outside activities, hobbies, passions?

I love being creative and getting crafty. One of my favorite creative outlets is making stationery products — notebooks, notepads. I’m also a huge foodie and I love to travel, so when I’m not working, I’m on the lookout for a new restaurant or my next travel destination.

Favorite movie(s)? Why?

My favorite movies tend to change depending on my mood and what I’m going through, but I always love a good coming-of-age story. My current favorites are “The Half of It” and “Didi.” Both films are well made and have a good representation of first-generation Asian American families. As a first-generation Asian American, I didn’t see much of that growing up. In “Didi,” there’s a moment when Chris’ mom explains why she chose to move to America for her kids despite the challenges. It was similar to a conversation I’d had with my mom, so I was deeply moved to see something so personal appear on screen.

Favorite TV program(s)?  Why?

I enjoy sci-fi/dystopia shows like “Stranger Things,” “Altered Carbon,” “Black Mirror,” and “The Handmaid’s Tale.” I like shows that explore different worlds and alternate realities. I also love watching Korean dramas, like “Start-Up” and “Itaewon Class.” What I love about K-dramas is the storytelling;  they can make you feel every emotion in just one scene.

Do you have an industry mentor?

I’m fortunate to have many mentors. Editors Jordan Goldman, ACE, Sarah Zeitlin, Susan Vaill, ACE, and Scott Powell, ACE, have coached me throughout my career. They have always been my biggest supporters, and I’m honored to have shared co-editing credits with them. They taught me Avid tips and tricks, what it takes to succeed as an editor, and how to use the best performances to shape the strongest scenes. I know I can always rely on their advice. Every editor I’ve had the privilege to work with has shared valuable lessons, and I strive to incorporate that knowledge into my work every day.

What advice would you offer someone interested in pursuing your line of work?

First, learn to anticipate what’s coming next in the workday or schedule. Being proactive will keep you ahead of the game and help you stay organized while assisting your editor. Second (and maybe most important), network as much as you can. Our industry is filled with talented assistant editors and editors willing to help support and guide you through your career. Finally, if you want to become an editor, edit as much as you can. Hands-on experience is always the best way to learn.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Fortunately, I haven’t had to rely on the Guild for help yet, but I know that if I ever need that help, they are just a phone call and/or email away.

Is there anything you’d like to say to your fellow Guild members, any words of encouragement?

I’m proud to be a part of the Guild. As I mentioned, there are many talented people here, and many are willing to offer support and pay it forward. Don’t hesitate to reach out when you need help. Keep pushing on, you’ve got this!

Where are you currently employed?

I have my own company called Kent Road Sound Design. I’m also a sound editor at NBC Universal, and I freelance with Transported Audio.

Current projects?

I’m supervising and mixing two independent features: “Horntak” and “Informal Crooks.” Also, I’m editing sound effects for “The Irrational,” a procedural drama on NBC.

Describe your job.

On features, I wear many hats, including supervising, editing dialogue and ADR, and working as a re-recording mixer.

For my current television project, I’m enjoying the opportunity to work again with one of my mentors, Jeff Kaplan, creating ambiences and doing sound effects editing for his various NBC drama projects.

How did you first become interested in this line of work?

I was exposed to audio technology at the radio station at Emory University in Atlanta in the 1990s. Around that same time, I attended the SXSW music conference before it was a film festival. They had several panels on independent film. I heard Richard Linklater speak about filmmaking, and I caught the moviemaking bug.

Who gave you your first break?

Thomas Patrick Smith, First Assistant Director, hired me as the sound intern on the set of “Kalifornia” (starring Brad Pitt, David Duchovny, and Juliette Lewis). I had the incredible opportunity to shadow and learn from award-winning sound mixer Juan Antonio Garcia.

What was your first union job?

I was a Y-16 at Westwind Media where I was a transfer operator and mix tech.

What credits or projects are you proudest of and why?

One of my very first supervising and mixing gigs was for the Academy Award-nominated documentary, “The Garden.” I’m also very proud of my sound design on the seminal horror films “Sinister,” “It,” and “The Black Phone.” But I’m probably proudest of my sound editing and re-recording work on the DreamWorks Animation features “Trolls World Tour” and “Trolls Band Together.” These two films gave me an opportunity to work on projects that have meaningful stories and rely heavily on great sound design and music. I’m happy to say that I’ve been able to work on many projects in which sound has a central role in the cinematic storytelling.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

My goal on every film is to create the best-sounding tracks that elevate the storytelling and support the director’s vision. Each project is unique and can present different challenges, anything from filmmakers who are stressed and fatigued to difficult technical hurdles. I always try to produce my best work and leave frustrations at the door.

What was the most fun you’ve had at work?

I love recording everything from group ADR to custom sound effects in the field. Some of my most creative experiences have been on horror and animated projects on which I collaborated with loop group actors and principal actors like Bill Skarsgård, Frank Welker, Michael McKean, and Fred Tatasciore. It’s thrilling to improvise and experiment with different sounds and to discover something terrifying, hilarious, and unexpected.

Jobwise, what do you hope to be doing five years from now?

I hope to be supervising or mixing more shows that I feel are artistic and entertaining. I want people to continue enjoying cinema in all its forms.

What are your outside activities, hobbies, passions?

I enjoy spending time with my family, traveling, seeing live music, and playing with synths and drum machines.

Favorite movie(s)? Why?

Some of my favorite films: Francois Truffaut’s “The 400 Blows,” Disney’s “Fantasia” (the first one, from 1940), Richard Linklater’s “Slacker,” Wim Wenders’ “Wings of Desire,” Anthony Minghella’s “The English Patient,” Miyazaki’s “Totoro,” and Denis Villeneuve’s “Arrival.” The movies I love tend to have great soundtracks and music, complicated themes and narrative, and have a strong voice provided by the filmmaker. Films have the potential to move the audience in metaphysical ways, showing the world through a different lens and inspiring the audience to appreciate the awe of being alive. All of these films spark creativity, curiosity, and reflection, which I believe is a higher cause for art in general.

Favorite TV program(s)?  Why?

 The most inspiring television shows for me have been “The Twilight Zone,” “Star Trek” (especially TOS [the original series] and Next Generation), and David Simon’s “The Wire.” All of these shows have used the serial nature of television to explore important topics in both short vignettes and long arcs. These shows have been able to spark deep philosophical discussions about science, spirituality, and ethics in a way that usually cannot be achieved in the short duration of a feature film. I share so many ideas and values with the writers of these shows and think that, through their work, they all are striving to make the world a better place.

Do you have an industry mentor?

I have several industry mentors: Mark Kaplan, Dane Davis, Greg Hedgepath, Bobbi Banks, Eric Lindemann, Scott Ganary, Jeff Kaplan, and Jon Taylor. I feel so blessed to have worked with these amazing sound professionals, editors, and mixers. I have tremendous gratitude for what they and many other folks have done for me.

What advice would you offer to someone interested in pursuing your line of work?

My main advice is to form bonds with your colleagues and mentors. Ask questions, stay in touch, and be vulnerable. It can be a difficult job, but when we create amazing sounds and work with great colleagues, post-production sound is an absolutely wonderful career path. Repeating myself for emphasis: make sure you text and call your friends and colleagues and stay connected on a personal level.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

In addition to fantastic health benefits [through MPI], the Guild is great at providing training on new technology. It has also given me the opportunity to mentor young sound professionals through the Guild’s Women’s Steering Committee’s new mentorship program.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

We are all in this together. The best film and television projects rely on collaboration. Maintain solidarity with your colleagues, and in the future there will be opportunities to get back to the childlike state of playing in the sandbox and building fantasy worlds together.

Where are you currently employed?

I’m on staff at Sound Lounge in New York City as a sound editor and re-recording mixer.

Current projects?

I help out on mixing “Sesame Street,” and I just finished the sound effects edit on an upcoming animated show created by Ramy Youssef called “#1 Happy Family USA” that will stream on Prime Video. Working on both has been some of the most fun I’ve had in my career so far.

Describe your job.

Being a sound editor and mixer, I’m on hand to work on any projects that come our way as a company, and to apply any of my skills as needed. This can range from working dialogue or sound effects for one project, supervising ADR (Automated Dialogue Replacement) and effects editing for another, and mixing while supervising other sound editors. There’s a wide array of work that comes our way, and I love the variety. But above all else, my job is to support the team and to support our clients. I know it’s a business, but I really enjoy putting out my best work along with my co-workers and making stuff that people will love.

How did you first become interested in this line of work?

In high school, a friend recruited me to the auditorium stage crew where I got my first exposure to live sound. There was something so appealing about the intersection of technology and creativity that really drew me in. Funny enough, I didn’t study anything related to post sound at SUNY (State University of New York) Fredonia, where I attended college. I learned how to record bands and get quality drum sounds, which is where I thought I wanted to end up. But after some internships, I quickly learned that the 8 a.m. to 3 a.m. music studio life was not for me. I reached out to an alum, Steve “Major” Giammaria, and he invited me to apply for an ADR  internship at Sound Lounge. That was a turning point for me. Seeing the collaborative process between actors and directors — the infinite amount of decisions that went into making my favorite shows and movies — was eye-opening. I knew then that I wanted to grow my career in those same collaborative environments.

Who gave you your first break?

If by first break you mean my first job in post, that would have to be Steve Koch. He was our machine room manager at the time, and he offered me an assistant position. From there, I worked my way up to the role I have now. If we’re talking first project breaks, my work on a film called “Story Ave” was a stepping-up moment for me. It was one of the bigger features I’d done, as well as my first experience being a supervising sound editor. It was projected to premiere at SXSW in 2023, so I had to make sure I was firing on all cylinders. I came out of that role with even stronger convictions about what I wanted my career to look like.

What was your first union job?

That would be Season 1 of the Netflix comedy-drama “Survival of the Thickest” as a dialogue editor and ADR supervisor/editor. My mixer and supervising sound editor, Evan Benjamin, was a real guiding light on that project. He taught me a plethora of tricks and tactics to speed up my workflow. I also developed some crucial skills in working with actors during ADR supervising. It was so inspiring working with such talented people who were all locked in from the jump. Shout out to the AEs on that first season: Bart Keller and Marina Catala, they saved me more times than I can count!

What credits or projects are you proudest of, and why?

It feels cliché, but I’m always proudest of whatever I’m working on currently. I think I improve on every project that I get to be on, and I always feel like my best work is whatever I’m doing next. The effects editing I’m doing on “#1 Happy Family USA,” in particular, has been a really rewarding challenge to unravel. I’m also proud of my work on the first season of “Survival of the Thickest.” I felt like I worked harder than I ever had; I learned entirely new skills and workflows within days and somehow kept it all together for eight-plus weeks. I feel like that experience left me ready for any project.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

Challenges will always vary from job to job. Most recently, I was working on a short film with a client, and we had been reviewing this one scene that involved a body being dragged across the ground. After exhausting the sound options from our library, we still had not landed on the perfect dragging sound. Finally, I got up and ran to the janitor’s closet and grabbed the mop and bucket. I wet the mop, aimed a 416 (Sennheiser MKH 416 microphone) at the floor, and handed him the mop. After several takes, we landed on a movement that felt authentic, and that’s the sound we used for the short! Having a surge of inspiration in a moment of complete frustration taught me that with time and a bit of luck, you can find the solution.

What was the most fun you’ve had at work?

I have a lot of fun roaming around the office with headphones and my H1N compact digital recorder, asking folks to help me record little incidental sounds for projects. Most recently, I did this anime fight sequence that was styled after the ‘90s era Japanese anime series “Dragon Ball Z.” I had to cross reference sounds with the actual show, as well as create sounds to match the vibe and era. I was grinning from ear to ear the whole time! Anytime you get to work on something that the childhood version of yourself would be floored by is both really cool and really special.

Jobwise, what do you hope to be doing five years from now?

I couldn’t be happier with my job at the moment. My colleagues here at Sound Lounge are excellent, and I’m incredibly proud to be a member of Local 700. In five years, I hope I’ll have moved more fully into a re-recording mixer and supervising sound editor role. Mixing is where I feel most creative and in my element with clients. I’d love to do more of that in the coming years — maybe even a full series!

What are your outside activities, hobbies, passions?

I love photography. I started shooting on film a little before 2020 and then transitioned to digital photography earlier this year. Film is an amazing medium that imparts a kind of ethereal quality to real-life images, which I love. I’m also very much a lover of games in general: chess, board games, card games, pen and paper, etc. To sit down at a table across from another person or people and interact directly, enjoying each other’s time, is such a rarity these days. It’s been a nice respite for me in recent years.

Favorite movie(s)? Why?

I usually give two answers for this sort of question: favorite movies in general and favorite movies for sound. In general, The Daniels’ (writer/directors Daniel Kwan and Daniel Scheinert)  “Everything Everywhere All At Once” is up there. Seeing that in theaters was a very special experience for me. I’m also a big fan of John Carpenter’s “The Thing,” as I think it’s really a perfect movie in structure and execution. For sound, I think pretty often about Darius Marder’s “Sound of Metal.” The use of contact mics and mimicking cochlear implants is not only creative  — it feels like wizardry when it’s on screen. I could only hope to work on something like that in which sound is an integral part of the story.

Favorite TV program(s)? Why?

I have a few, but I think I have to give it solely to “Adventure Time.” I have a very big love and appreciation for many animated shows, but “Adventure Time” to me was a perfect encapsulation of what animation can be. It was equal parts silly, serious, fantastical, mundane, impossible, and real. From a viewer’s perspective, it was a very fun and beautiful show; and as an audio person, I cannot imagine how much fun the post audio team had working on it.

Do you have an industry mentor?

I wouldn’t say officially, but I often lean on the advice and knowledge of my friend and colleague, Steve “Major” Giammaria. Aside from having a keen ear and an impeccable feel for sound and narrative, he frequently offers me ideas and solutions from an entirely unexpected perspective. It’s always refreshing to get his view on things. He has been in my shoes, so I have someone to ask, “Is this normal?” from time to time. I’m grateful to learn from him and to work with someone whose work I so admire.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Not yet, but part of the reason I’m so proud to be in the Guild is that I feel like I have many brothers and sisters in my corner. It can be scary to think about the state of the industry and the livelihood of the professionals in it, but my instinct has always been to lean on the community and to have solidarity in the face of that uncertainty.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I’m a relatively young and new voice to the Guild, but I hope we’ll always keep learning and listening to one another; so much of my work has improved when I did those two things with colleagues and clients, I think change is ultimately a force for good. It’s good to strive to be a little better, a little faster, a little prouder of your work. I think change pushes us all to adapt for the better.

Q Where are you currently employed?

I’m between engagements.

Q Current projects?

Since the work slowdown caused by the strikes, I’ve been the cohost/editor for a weekly wrestling video podcast called “Home Wrestling League.” I’ve been a wrestling fan since I was five years old, and a friend and I decided to create a video pro wrestling podcast from a Black point of view because there was no Black-centered wrestling podcast.

Q Describe your job.

My job is to help make the editors’ day less hectic, so I assist them with graphics, sound work, and mostly technical problems that affect them. Sometimes an assistant editor gets the opportunity to edit a scene or two, but everything we do is to help the editor.

Q How did you first become interested in this line of work?

I’ve wanted to be an editor since I was 16 years old back in Las Vegas. When I was in high school, my broadcasting class needed an editor, so I did it. It wasn’t until I was attending the University of Nevada, Las Vegas (UNLV) and talked to one of my best friends, Jason Edmiston, that I decided to make editing the focus of my career. Jason is a professor at UNLV and gave me the confidence to actively pursue that. He gave me notes and we talked about movies for hours on end.

Q Who gave you your first break?

Tom Hietter, who was a story producer for unscripted (reality) TV. The story producer watches hours and hours of footage and creates a story from it. Tom gave me my first job directly out of grad school as a story assistant for a season on an unscripted TV show called “Kendra on Top.” (Kendra Wilkinson is a former Playboy playmate who was married to retired NFL player Hank Bassett.) My job was to watch hours of footage, find certain phrases, and then put markers on them as I tried to conceive a functional story for the show.

Q What was your first union job?

In 2016, Shiran Amir, ACE (a member of the Editors Guild board) said that her boyfriend (now husband) Cody Miller needed an assistant editor for a movie he was working on in Boston. She told me on a Thursday, while I was at a Chelsea FC soccer match with my friend Franzis Muller, who’s also an editor. She told me to take the job. On Friday, I said yes. On Saturday, I quit the job I was working on. On Sunday, I was working in Boston.

Q What credits or projects are you proudest of, and why?

Pre-pandemic, I worked on a lot of movies that no one has seen. (I did an interview with a friend who actually said that to my face.) I answered an ad to work on Season 3 of “You,” the Netflix psychological thriller. I assisted Rita K. Sanders, who allowed me to work with her on something that people have actually seen. Thanks to Rita, who is one of the best and most generous editors working in the industry, I got a lot of experience. I would die for her.

Q What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

Sometimes, dealing with stress. As an assistant, your job is more technical and about the details. So you may forget little things and get incredibly stressed out. But you have to persevere and take your time to do the many things that are needed to finish the task.

Q What was the most fun you’ve had at work?

When I worked on “Wu Tang: An American Saga,” which streams on Hulu, part of my job was to find sources for music cues. I picked a song that has deep personal meeting for me; when I spent time with my uncle, he would play this song a lot. It’s called “Meth vs Chef,” by Method Man and Raekwon. It’s about the two of them competing with freestyle rhymes. I picked it, and the show was able to use it in the final cut of an episode.

Q Jobwise, what do you hope to be doing five years from now?

June 10th, 2022 is an important day for me, not only because Steph Curry dropped 43 in Boston in the NBA Finals, but also because someone said something to me that I wasn’t a fan of. I’m not going to get into details, but ever since then, my goal is to become an editor in under 20 years, and I’m working every day to accomplish that goal.

Q What are your outside activities, hobbies, passions?

I collect sneakers, trading cards, and I talk to my friends via Twitter Spaces.

Q Favorite movie(s)? Why?

“Singing in the Rain” is my favorite movie – at least in part because it’s a movie about trying to save a movie, which editors often do. Other favorites include “The Warriors” because it’s a gritty look at gang life in the ‘70s and “Drop Dead Gorgeous” because it’s a hilarious mockumentary that takes a look at the madness that is beauty pageants.

Q Favorite TV program(s)? Why?

My favorite show ever is a three-season show that came out in the mid-2010s called “Happy Endings.” It’s one of those shows that, sadly, was underrated. It’s one of the best written comedy shows ever that not that many people know of. The dialogue was zippy. It was very fun and it was incredibly well edited. So I am one of the primary flag bearers for it. I watch “Rick and Morty,” “Law and Order: Special Victims Unit,” and “The Simpsons” (Seasons 1 through 12, because the writing gets weak after that).

Q Do you have an industry mentor?

Cody Miller was the first person I assisted edited for on a union gig. Rita Sanders gave me that opportunity to work on a popular show. Jim Carretta is one of the few people that I know who actually enjoys movies, and we would have very long conversations about the movies that we genuinely like. And Dominique Ulloa is essentially the reason I’m still in post; she has frequently gone out of her way to help me. Q What advice would you offer to someone interested in pursuing your line of work?
When I guest lecture at my alma mater, UNLV, I realize everyone is significantly younger than I am, but they all grew up with this movie: “Finding Nemo,” I tell them, has the most important advice for any career you go into: “Just keep swimming.”

Q Was there ever a circumstance when you had to rely on the Guild for help or assistance?

When I took that job in Boston, I didn’t get paid for nearly four weeks. The union had to step in and fix that problem. Also, now: I haven’t worked full-time in a year, and if it weren’t for the union, I would be in significantly worse shape than I currently am. I have my healthcare until September, so I hope to find some sort of work by then.

Q Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Like I said earlier, you just gotta keep swimming and you’ll find your path. Also, Blake Griffin once said, “You have to be in love with the process of becoming great to become great,” and I have used that ideal for a good chunk of my career. If you are in love with it, then you accept everything that happens with it.

Where are you currently employed?

I am a freelance music editor in Brooklyn, NY. The majority of my work occurs remotely in my studio in DUMBO (Down Under the Manhattan Bridge Overpass). I join directors and editors during spotting  sessions and music reviews. In spotting sessions, the director, post-producer, picture editor and I review the film scene by scene and identify the exact moments on screen that require music. Music reviews are discussions about whether a specific piece of music is working for a scene and how (if necessary) it could be improved to be more emotionally resonant. I attend final score recording sessions with composers. I also work in person at dub stages during final re-recording mixes. That’s when I catch up with my colleagues in the sound department and problem-solve music matters on the fly.

Current projects?

I recently started working on a musical/rock-opera titled “O’Dessa” that will be released in early 2025. Earlier this year, I collaborated on a feature, “The Friend,” that will premiere at the Toronto International Film Festival (TIFF) in September. I also worked on an A24 fantasy film, “Death of a Unicorn,” and about a month ago, I wrapped up the final mix on a horror film from New Regency.

Describe your job.

Music editor is a vesica piscis between picture, sound and music departments. You get to work with the director/showrunner on creating a temporary music score that establishes the emotional and stylistic languages of the project. You then work closely with the composer on developing, organizing, recording and showcasing their original material. You work in tandem with music supervisors on selecting and presenting source material and needledrops. You are heavily involved during the final mix, providing any support that the sound team and re-recording mixer might need. 

Who gave you your first break?

It took a while. Unfortunately, there is no longer a formal path to becoming a music editor. Barely any projects have a budget for an assistant music editor, a position where you can learn more about the craft while tangibly and practically being of help in a music department. In addition, my schooling was not in the film world, but in arts and music. I have had two viable, involved creative careers before transitioning into film. In retrospect, I think it was helpful to have worked in visual arts first, in order to conceptually be able to bridge music and moving image. However, I had no understanding of how the post-production process worked or how to break into this field. After years of my futile bounced cold-call emails to other music editors in NY, a veteran editor, Dan Farkas, took a chance and arranged for me to shadow him. First, I was a fly on a wall on the “Warrior” TV series, just watching him work. Sometime later, I assisted him on a Netflix TV series, “The Sinner.”

What was your first union job?

It was a small horror feature: “You Should Have Left” by Blumhouse Productions. I was hired for the final three weeks of the project: get the score ready for the mix; the re-recording mix itself; and a few days of preparing music deliverables/wrap-up.

What credits or projects are you proudest of, and why?

All of them.  A) I still don’t believe I get to do the job that I love, considering how impenetrable this field seemed earlier in my career. B) Every single credit means so much because I get to learn more about myself and grow as a professional through every project.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

Most of my challenges are self-inflicted, and the only way to overcome them is to keep working. I tend to improve professionally by embarking on new projects.

What was the most fun you’ve had at work?

I’m having a great time on a project I’m currently working on. Although I joined the team after the score was mostly finalized, I get to attend recording sessions and score mixes. It’s such a significant part of the process because we bring to life the story and characters on the screen through balancing the elements, augmenting harmonies and refining the blend of instruments. For example, there was a rather solemn scene with a heavy brass instrumentation underscoring the moment, but by highlighting certain synth textures, we managed to tie together the hero’s grief to a dream-like vision that is woven into the final act. This has allowed us musically to bookend the tale in the most cohesive manner.

Jobwise, what do you hope to be doing five years from now?

The ultimate hope is to learn how to have more fun at work in whatever form the job takes.

What are your outside activities, hobbies, passions?

I keep my hand on the pulse of sonic art installations and multi-sensory experiences that involve music —and taste buds! I’m about to start an online course taught by a Michelin-star chef that explores relationships between taste, sight and sound. I am very curious how all human senses are connected (which in a weird way is an extension of what I do professionally). I also have two Lagotto pups that keep me very busy. They are very musical dogs, and I love coming up with marching tunes for our leash walks; it’s hard to believe it, but I find that they behave better on the leash if I sing or whistle to them.

Favorite TV program(s)?  Why?

I am a big fan on Noah Hawley’s projects. Whether “Fargo” or “Legion,” he makes outstanding music choices!

What advice would you offer to someone interested in pursuing your line of work?

In my opinion, it’s a three-dimensional career.

There is a technical aspect and importance of keeping up with the latest music technologies, Pro Tools releases, new audio plugins, music libraries, cue sheet maintenance software, deliverables  requirements, etc.

There is a social aspect. Being able to read the room. Picking up on nuances and intricacies of workplace dynamics. Establishing a rapport with director, producers, pictures editors, AE’s, sound department, music supervisor, composer. It’s a delicate web of collaborations and ideas where everyone wants to be heard.

There is a conceptual ingredient. All your creative choices are meant to support the story unfolding on the screen. Therefore, you have to have a broad knowledge base of music aesthetics and styles to underpin your technical and theoretical choices.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

There was a small project early on in my career that didn’t work out the way I had hoped it would. The East Coast branch representative at the time stepped in and advocated on my behalf. They also made sure that all contractual obligations were fulfilled by the hiring party, which I would have overlooked due to my inexperience.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I sincerely hope the industry will bounce back in the next six months and everyone will return to work. Crossing fingers for 2025 to become the new Golden Age for Film and TV — although perhaps not Golden, but a Copper Age? It seems to be the most in-demand metal for clean-energy technologies right now, so let’s hope there is a sustainable future for all of us in the Guild.

Compiled by David Bruskin. 

Where are you currently employed?

I am a mix technician at Signature Post. I am also a freelance dialogue editor.

Current projects?

I have been working as a mix tech on the HBO Max documentary for Lady Gaga, “Chromatic Ball Concert,” and the FX episodic show “American Sports Story.”

Describe your job.

As a mix technician, I am responsible for configuring the stage with precise technical specifications to ensure that the mix is recorded and delivered in accordance with industry standards for theatrical or episodic releases. This involves close communication with re-recording mixers, sound supervisors, and post producers.

How did you first become interested in this line of work?

I have always been drawn to storytelling through various mediums, whether it’s through sound or visual media. It was during my time at Berklee College of Music that I delved deeper into the intricate soundscape of film and animation. Immersed in this world, I discovered my passion for audio production, where creativity and technical precision intertwine. From that moment, I knew I wanted to pursue it as a career; I was driven by the desire to bring stories to life through the power of sound.

Who gave you your first break?

My first break to join the Guild came thanks to the encouragement and support of my good friend and colleague, Christina Wen, along with the belief of engineer Scott Oyster. Their confidence in me opened doors to new opportunities and allowed me to work on many meaningful projects.

What was your first union job?

Working on a television show called “The Old Man” and a feature film called “Significant Other.” Through these projects, I have met many talented professionals who have since become valued colleagues and friends.

What credits or projects are you proudest of, and why?

The documentary “King Coal” was particularly special because I had the opportunity to collaborate with close colleagues, which made the experience both rewarding and enjoyable. The final product was a testament to our collective effort and expertise.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

As a mix technician, the main challenge lies in anticipating and addressing potential issues with adaptability and calmness. While it is impossible to predict every problem, staying alert and responsive allows me to troubleshoot effectively on stage.

What was the most fun you’ve had at work?

The most enjoyable aspect of my work is witnessing the seamless collaboration between sound and visuals in the final form before it’s shared with the outside world. It’s truly rewarding to see how each element contributes uniquely to the overall composition, serving as a testament to the time and effort invested in the project.

Jobwise, what do you hope to be doing five years from now?

In five years, I aspire to collaborate with talented peers from around the world, broadening my horizons and engaging in diverse projects that challenge and enhance my skills. Expanding my global network and contributing to a variety of creative endeavors are key goals as I continue to grow and evolve in my career.

What are your outside activities, hobbies, passions?

Outside of work, I have a passion for pottery, photography and cooking. These hobbies allow me to express my creativity in different mediums. Pottery has been a very therapeutic and challenging experience. The process of throwing, firing and glazing the pottery pieces can leave much room for error but the end result is very satisfying. There’s just something truly special about enjoying a home-cooked meal served on a bowl or plate that I’ve crafted myself!

Favorite movie(s)? Why?

My favorite movies are “The Last Emperor” and “Our Little Sister.” Both films tell great stories and have stunning cinematography. “The Last Emperor” holds a special place in my heart because the soundtrack was composed by my role model, Ryuichi Sakamoto. His compositions leave a lasting impression and have become a staple on my playlist ever since.

Favorite TV program(s)?  Why?

My favorite shows that I often rewatch are “Clarkson’s Farm” and “Derry Girls.” “Clarkson’s Farm” is an  unscripted docuseries about a man trying to run a farm despite having no experience. It provides a humorous yet insightful look into rural life and agriculture. It reminds me of the significance of nature, especially for someone like me who spends much of their time working indoors. The characters on the dark teen comedy “Derry Girls” engage in a chaotic yet captivating portrayal of life that I would never be able to live: teens (with charming Irish accents) experiencing typical growing pains amidst the Troubles in Northern Ireland during the ‘90s.

Do you have an industry mentor?

Absolutely! Having mentors like re-recording mixers Tim Hoogenakker, Alexandra Fehrman, Rich Weingart, and Zach Seivers has been invaluable to me. Their guidance, support, and shared knowledge have played a significant role in my career development, allowing me to work on meaningful projects alongside them and grow both personally and professionally.

What advice would you offer to someone interested in pursuing your line of work?

My advice to anyone interested in pursuing a career in audio postproduction is to be persistent and curious. Embrace every opportunity to learn, whether it’s through formal education, internships, or hands-on experience. Network with professionals in the industry, seek out mentors, and never be afraid to ask questions. (There is no such thing as a dumb question!) The more you immerse yourself in the field, the more you’ll understand its nuances and develop your unique skills.

Was there ever a circumstance when you  had to rely on the Guild for help or assistance?

While I haven’t personally needed to rely on the Guild for assistance, I’m well aware of the resources available and know where to turn if the need arises.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I want to express my gratitude for the supportive community we have in the Guild. Let’s continue to celebrate each other’s accomplishments and inspire one another to do our best work!

Where are you currently employed?

I’m freelancing on a documentary film project.

Current projects?

I’m assistant editing on an unannounced documentary that will hopefully make the festival circuit. Prior to this, I was an assistant editor on the first season of an unannounced Netflix show, on a Sundance feature called “Birth/ Rebirth,” and on “A Black Lady Sketch Show” on Max/HBO.

Describe your job.

My job as an assistant editor is to organize and prep the project for my team of editors. I work with the post house and production to confirm that all of the footage received has no issues on the post end. Then I prep it so my editors can begin watching footage for the scene that was shot the previous day and they can begin to build out their cut. The most important part of my job is making sure my editors are supported in every way possible so they can do their best work. Other aspects of my job include assisting with sound design, doing temp visual effects, creating continuities that include noting music cues and timing scenes and acts, and doing final turnovers of the full cut to our finishing house when picture is locked. Although the job has many technical aspects, it’s also creative and requires great communication, not just with my editors but with the entire post team, from other assistants to post producers.

How did you first become interested in this line of work?

When I was in middle school, my cousin took a film course and asked me to be in her short film. I was fascinated by the process, from storyboarding to editing. I began to research what editors do and started making little videos with friends and piecing them together.

Who gave you your first break?

I got my first entertainment job through a friend and former classmate, Tori Weller, who’s now a great editor. She helped me get my first job in unscripted television as a logger; I watched raw footage and gave a brief description of what was happening in a shot so that whoever received the footage could get a quick overview of what they were about to watch and could find a specific moment more easily. From there, I was able to work my way up to assistant editor. I got my first big break into scripted television from Bradinn French, ACE, who so graciously messaged me on Facebook (thank God I looked at Messenger) to ask if I was available for an opening on “A Black Lady Sketch Show,” which was a hugely positive experience, in part because the people were so wonderful.

What was your first union job?

“A Black Lady Sketch Show.” I was a huge fan from season one and even met up with editor Stephanie Filo, ACE, to talk about the show and to network. Sometime after that, I got a message from Bradinn (whom I had worked with on “The Fresh Prince of Bel-Air Reunion”) asking if I was available to fill an assistant editor spot on the show. It was an amazing feeling as I had really challenged myself to break from nonunion and into union.

What credits or projects are you proudest of, and why?

I’m extremely proud of working on “The Fresh Prince of Bel-Air Reunion,” “A Black Lady Sketch Show,” and “Birth/Rebirth.” “The Fresh Prince” reunion was my first big show as a lead assistant and it was cut on Adobe Premiere. I had primarily worked on Avid most of my career, so it was a challenge to navigate an edit team on a high-profile reunion, especially one that was so nostalgic.

“A Black Lady Sketch Show” will always hold a special place in my heart because it signified the change in my career path. I was moving from reality/docs to scripted content, and I was proving to myself that I could navigate the workflow. I learned to be more creative and confident with my skillsets.

“Birth/Rebirth” was my first indie feature. It was just my editor and me, and I had to navigate setting up a remote workflow along with turning around a longer format since I’d mostly delivered 30 to 45 minute shows, which are set up differently from a movie that runs longer than an hour. I’m really proud of working on that movie, which ultimately got into Sundance.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

I worked on a show that was using Premiere Pro until they decided mid-run to switch to Premiere Pro Productions — a whole new workflow that I had not yet tested or been acquainted with. The challenge was to take the entire project offline and migrate it all into a new Premiere Pro Productions project — overnight — so that the edit team would have a project and media to continue working on the next day. The turnaround was tight on this particular project, so my second assistant and I discussed the best practice to complete the task — and late into the night, we were off on a race against the clock. When it was done, it did have its kinks, but the project was a success. I’m extremely proud that I was able to complete that challenge.

What was the most fun you’ve had at work?

Being in the office when I worked on “The Real World: Mexico City.” It was the greatest time because although that project was very fast-paced, it was also filled with some of the greatest post people I’ve ever met. It was the first time in my life that I was surrounded by a team that shared a similar cultural background to my own, and it felt like being at work with family.

Jobwise, what do you hope to be doing five years from now?

I hope I’ll have the confidence to be editing. I think my biggest setback is not feeling like I’m ready to level up because I’m always learning or don’t feel up to par with my peers. But the best thing would be to take a chance.

What are your outside activities, hobbies, passions?

I love spending time with my husband Jacob watching movies, walking our dog Athena, and playing Scrabble. Besides time with my partner, I love to frequent Disneyland with friends. It’s a great escape from my environment (when the crowds aren’t terrible), and it’s nice to feel like a kid.

Favorite movie(s)? Why?

I don’t like favorites of anything. It depends on what I’m in the mood to watch, and I’m constantly changing my mind. Some movies that I could never tire of include:

“The Wedding Singer”— it’s nostalgic and always reminds me of my dad. I could quote a lot of that movie.

“Everything Everywhere All at Once” — I cried in the theater when I watched it. I felt such a connection to the story of the mom and daughter, and it was all so well done.

“Ever After” — this is my favorite version of Cinderella, and I love Drew Barrymore in the role.

Favorite TV program(s)? Why?

My current TV obsessions are “Severance” and “The Night Agent”:

“Severance” – I love the way each episode of this show always ended with a cliffhanger. The story is so well thought out that I can’t wait for season two! Please call if you need an assistant editor!

“The Night Agent” — I love a mystery and romance. The cheese in this show was just enough for me, and I was hooked.

Do you have an industry mentor?

Everyone I have ever met who has helped get me to this point is a mentor, and I am beyond grateful. I’d like to give a special mention to Taylor Mason, ACE, who has really helped me blossom into the assistant editor I am today and allowed me to feel confident with editing. Thanks, Jack-to-my-Rose partner.

What advice would you offer to someone interested in pursuing your line of work?

Don’t get comfortable in one spot. I was feeling comfortable in one area of entertainment that I knew,  and I was scared to try other things. It’s important to open yourself up to other opportunities, whether it’s working on different shows, learning new crafts, or changing the work environment all together. The greatest thing for my career was to shift from reality to documentaries to scripted. I gained more knowledge on workflows, networked with more people, and learned from other assistants.

I also think it’s important to strengthen your skillset by learning other software, like Photoshop and After Effects. These two apps have been the most beneficial in my line of work. They especially help me to stand out among other candidates for a job. Visual effects are a big part of the job in entertainment, and knowing how to use templates or create temp visual effects from scratch allows you to be helpful in the edit, not only to the post team but to your editor.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

I’ve been very fortunate not to have needed extra assistance from the Guild, but it’s reassuring to know they are available for support.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

This past year has been extremely difficult for many of us — I know the impact it’s had at my home — but I hold out hope that we can all resume work soon. Here’s to hoping that in 2024, we all get back on our feet and hit the ground running, doing what we love. I’m extremely proud to be part of a Guild full of such talented individuals. Every time I meet a member who tells me what they do on their project, I am fascinated. As someone who is still new to the Guild, I find it inspiring to see how so many members have come so far and regularly get to work on talent-rich projects.

Where are you currently employed?

I work as a freelance sound editor and re-recording mixer in Burbank, Calif., but for the past few years, the majority of my work has been with Skywalker Sound and done remotely from my home studio. I will go up to the ranch in Northern California to work in person during the final mix, as it allows me to spend time with my teammates and collaborate more effectively.

Current projects?

I recently worked as one of the Foley editors on two Marvel Disney+ series called “Echo” and “Secret Invasion.” In “Echo,” there was a unique aspect with a deaf character, and a significant part of the show involved using American Sign Language (ASL) for dialogue. Typically, Foley is a background element that helps blend the soundtrack together, but in this case, it took a prominent role; the hand movements and the sound of clothing movement that was recorded to match the ASL became the dialogue of the scene.

On “Secret Invasion,” the show had a gritty spy drama vibe with plenty of intense action scenes. One memorable moment was a gunfight in a glass greenhouse. We had the opportunity to capture all the sounds of glass breaking, SWAT team gear, weapon movements, and impacts. Even after the chaos subsides and the main characters cautiously move around, the subtle sound of crunching glass underfoot can be heard. I think it adds to the tension and realism of the scene.

Describe your job.

One of the most interesting jobs I’ve had is working as an assistant sound supervisor. The job is very diverse in terms of tasks. Because of this, I have begun to learn some basic coding skills and have even started developing my own software. One particular program I created acts as a virtual assistant. It can sort files based on their names and types, move them to the right place on the show server, create new folders with the correct-version numbers and dates, and even set up Pro Tools sessions with video and audio tracks. I built this software while working on “She-Hulk,” where it proved incredibly helpful as we dealt with 286 conforms due to picture and/or visual effects updates. Occasionally, we were conforming three times a day due to the changes. Despite having two assistants on the show, myself and Melissa Lytle, the workload was immense, so my virtual assistant software was a lifesaver.

How did you first become interested in this line of work?

As a kid, I played electric guitar and collected effect pedals and amps. Instead of focusing on learning songs, I was more interested in creating strange and unique sounds with the pedals. This sonic passion carried into high school where the guidance counselor suggested that I pursue a career in sound, so I looked into the Savannah College of Art and Design (SCAD). I applied, got in, and started learning about different positions (classifications, in union-speak) within post sound for film and TV. I’m thankful that the professors had real world experience and were able to teach a lot of the skills I still use today.

Who gave you your first break?

After graduating from SCAD, I moved to Los Angeles and lived in my car for about seven months while  working for free in different post sound roles. Then Brent Kiser, a sound supervisor who owns Unbridled Sound and is a fellow SCAD alum, gave me my first paying job as a re-recording mixer. Back then, we were working on indie projects headed to festivals, so if I made a mistake, it wasn’t career ending. I took great advantage of this time and mixed on as many projects as I could. I used my time at Unbridled Sound to learn and grow as an audio professional, and now I feel confident in my work because I can spot issues early and know how to fix them.

What was your first union job?

A friend told me he had passed my name along to a supervisor at Skywalker for a Marvel TV show headed for Disney+. I remember feeling really excited and knew that if the call came through, I would be ready. A few weeks later, I was playing video games with my siblings on a Saturday morning. An unnamed call came through with a San Francisco area code, and I had to decide whether to answer the potential Skywalker call or stay online with my brothers. Tough choice, but I took the call and it was Mac Smith asking me to work on an ambitious series called “Moon Knight.” I happily took the job and a few months later even won a Primetime Emmy for the work. But I almost missed my first Skywalker opportunity because I was playing video games with my brothers.

What credits or projects are you proudest of, and why?

For two years, I worked with Wylie Stateman and Eric Hoehn at Post 2.0 mixing the foreign dubbed version of movies. Since dubbing usually happens after the project is done, there wasn’t any pressure from directors or producers during the mixing sessions, so I was free to take my time and explore. This allowed me to experiment with different mixing techniques and plugins. We would also get copies of the original Pro Tools session, and I would go through them very thoroughly, dissecting and analyzing all the automation and trying to pick up little tips and tricks. 

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

I worked as one of the re-recording mixers on “Everything Everywhere All at Once.” Brent Kiser and the editors had already done a lot of work on the mix so they asked me to start around the middle of the movie. The reel he asked me to focus on had a scene in an alley where characters talk about finding happiness even in simple things, like owning a laundromat together. It made me reflect on my own life, and I got emotional because it felt related to events in my own life.

When I met with the directors, I shared how moved I was by that scene. We had a long conversation about its importance to the film and how crucial it would be to ensure the audience experiences  a similar emotional journey. With this clear goal, we went scene by scene and discussed the emotional beats and then worked the audio until that goal was achieved. It was a new approach for me and them to build a mixing guide based on personal emotional check points, but it worked well, and I believe it’s a key reason so many audience members related to the movie in the end.

At the end of the year, our sound team was one of the ten selected for the Academy Sound Branch shortlist. It was a great opportunity to meet with other mixers and sound editors to discuss our work. A memorable highlight of the night was the chance to speak with Paul Massey, one of my favorite mixers who has inspired me with his previous mixing work. We talked about the importance of finding yourself in a project and translating that connection into artistic decisions.

What was the most fun you’ve had at work?

I used to work with two talented and funny sound editors, Danielle Price and Jacob Flack. They worked together in a small room without air conditioning. To beat the heat, they got a fan that could be filled with water to make the air cooler. Instead of using fancy water, they used tap water stored in plastic bottles in the fridge. To tell them apart from actual drinking water bottles, they drew skulls on the tap water bottles. These skull bottles still crack me up whenever I think about them, and now that Death Water is the name of a legit company, I wish they had run with the idea more.

Jobwise, what do you hope to be doing five years from now?

I have two distinct goals for the future, both very different. First, I’d love to supervise or mix on an action or war movie. My brothers are in the army, and I want to work on something they can proudly share with their army buddies. I’m on the lookout for my own version of movies like “The Hurt Locker” or “Fury.” Secondly, I heard Taylor Swift is working on her first feature film, and if the chance comes up, I’d love to be involved in any way possible.

What are your outside activities, hobbies, passions?
I learned to scuba-dive in 2021 and have been going on trips to the California coastal islands via chartered boats.

Favorite movie(s)? Why?

I keep a highlight reel of sound design moments from movies I wish I had done. I go back to the list when I’m lost and looking for  inspiration. A glimpse at a few of the titles on my wish-I-had-done-that list are: “Blade Runner 2049,” “Dune,” “The Creator,” “Spider-Man: Into the Spider-Verse,” “Inglourious Basterds,” “Iron Man,” “Tron: Legacy,” “Road to Perdition,” “Transformers,” and any of the Pirates of the Caribbean movies. Each of those films has a unique sonic thumbprint and tackled a difficult genre in a fresh way.

Favorite TV program(s)?  Why?

My wife and I love watching the TV show “Below Deck.” It features the interior and exterior crew working on a super yacht. Naturally, there’s a lot of workplace drama, and we always pause to talk about who we think is right and wrong.

Do you have an industry mentor?

Currently, I have been learning a lot from Justin Doyle, an amazing sound effects editor and designer. He has such great taste in sounds and is pretty much unique in his ability to select the perfect sound for a scene. He has taught me not to be tricked by visually complex, overly stacked sound editing and instead find confidence in simple, clear, well-chosen design. Since working with him, I have been trying to select one well-chosen sound rather than ten average sounds mangled together.

What advice would you offer to someone interested in pursuing your line of work?

Conan O’Brien once compared working in show biz to playing slots at the casino. He said you have to keep trying every day because you never know when you’ll hit the jackpot. I agree and have found it helpful to maintain consistent effort. I would also add that having a good life partner is key. My partner, April Lamb, is a true genius. and I really am grateful for her support, love, and business savvy.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Recently, my first child was born, and the union health insurance was amazing. Anytime I had a question or issue, I would call. They always answered the phone quickly and had the right answers.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

When I first started freelancing, I wanted to join the union and work at a studio. I reached out to various studios in LA, asking to work as a mix tech or assistant re-recording mixer. I shared my goal with my friend Eric Hoehn, who offered to help. He wrote a great email to Formosa Group, asking them to consider hiring me as a re-recording mixer. They responded quickly, wanting to schedule a Zoom interview. I was nervous, but Eric boosted my confidence by reminding me of my skills. His support helped me ask for what I wanted, and in the end, I was hired by Formosa Group to mix. If I could offer encouragement to anyone in this industry, it would be to recognize your skills as valuable and seek out supporters who believe in you and your success.

WHERE ARE YOU CURRENTLY EMPLOYED?

Universal Studios.

CURRENT PROJECTS?

I recently finished Paramount’s “Transformers: Rise of the Beasts,” and am currently working on Universal’s “Twisters.”

DESCRIBE YOUR JOB.

Visual effects editing is an interesting job in that we are part of the editorial team — we work closely with the editor, assistant editors, director, etc. — but at the same time, we also work very closely with the visual effects team on the show. We function as sort of a conduit between editorial and visual effects and spend a lot of time communicating changes and updates between the two sides of post.

A big part of our job is to keep track of every visual effects shot in the movie — how it changes throughout the edit — and relay that information to the visual effects vendors so they can work to the correct frame range and creative directives. We are responsible for turning over shots from the film to the visual effects vendors, meaning we give them the plate(s) for the shot, as well as any additional material they may need to create the shot such as balls and charts, clean plates, background plates, etc. Balls and charts and clean plates are special versions of the plate. Balls and charts refers to the version of the plate that has a ball with a reflective side and a matte side so that people making the effects can see how light plays on objects in the scene and a color chart to see how colors are affected by lighting. A clean plate is a version that has the same camera move and action as the main plate, just without actors in it so the visual effects artists have a clean plate to work with.

Once the vendors start turning around versions of shots, we ingest them into the Avid and update the current edit with the submissions so the editor and director can see them in the intended context. Then each shot goes through a series of stages through the visual effects process, with notes going back and forth between editorial and visual effects until it is officially approved and final.

Another part of our job is to create temp visual effects to help tell the story until we have actual effects to cover the shot. So a lot of the early stages of post are spent making temp visual effects. Then we transition into working with PostVis, a much cruder and cheaper version of visual effects that helps to flesh out ideas the filmmakers want in the film before it goes into the much more time-consuming and expensive visual effects process.

HOW DID YOU FIRST BECOME INTERESTED IN THIS LINE OF WORK?

I did a crude version of visual effects editing in a project called “Wireless” for Quibi in 2019-2020. At the time, I didn’t know that “visual effects editor” existed as a job, and I spent more than a year essentially reinventing the wheel and figuring out how to do that job without knowing anything about it. It was great experience but probably very inefficient.

When I decided to try to make the jump into film and started to apply for assistant editor jobs, I figured I should keep my options open and applied for visual effects assistant editor jobs as well. I lucked out and got onto “Transformers: Rise of the Beasts” as the visual effects assistant editor — and I fell in love with the work. It’s a great balance between creativity and very technical, data-based work. I get to do temp visual effects, which can be creative and fun, and work closely with filmmakers and witness the creative process firsthand. At the same time, I get to scratch the very technical side of my brain that, for whatever reason, loves spreadsheets, databases, and organization.

WHO GAVE YOU YOUR FIRST BREAK?

If we are talking first break in the industry, that would have to be a small commercial visual effects company, Eight VFX. They gave me an internship that turned into a production coordinator job. But if we’re talking about breaking into my current path, film, I would credit my current boss Warren Hickman and the “Transformers: Rise of the Beasts” team. They took a chance on me even though most of my work experience was in unscripted television and I only had one dubious visual effects editing credit. But Warren took me under his wing and taught me all about the job, and now I love it.

WHAT WAS YOUR FIRST UNION JOB?

The Quibi project I mentioned, “Wireless,” that came out in 2020.

WHAT CREDITS OR PROJECTS ARE YOU PROUDEST OF, AND WHY?

“Wireless” was such a fascinating show to be a part of. Essentially, we had to edit two films — one vertically oriented, one horizontally oriented, and both synchronized to the same audio track — that not only each told a full story separately, but also complemented each other to tell a larger story together. The show was made as though it was a film but was then broken up into short 10-ish-minute “quibis,” of course. There were many visual effects in that series, which was my first foray into visual effects editing. “Transformers: Rise of the Beasts” was the first feature film I worked on, so that also belongs in this category as it was the first time my name was on the big screen.

WHAT WAS YOUR BIGGEST CHALLENGE IN YOUR JOB (OR ON A PARTICULAR PROJECT) AND HOW DID YOU OVERCOME/SOLVE IT?

I think the most difficult part of the visual effects editing job is navigating the often opposing demands of the editorial and visual effects departments. There’s a lot of figuring out priorities and working to bridge the gap between the two departments. Sometimes you have to tread carefully so as to not step on anyone’s toes. You want to try to give everyone what they want and need, but that isn’t always possible, so trying to walk that line and keep everyone as happy as possible is the biggest challenge.

WHAT WAS THE MOST FUN YOU’VE HAD AT WORK?

I’m not sure about one specific event that would be considered the most fun I’ve had at work, but it’s the people that really make working in this industry great. When you’re spending 50+ hours a week with your co-workers, you’ve got to make it fun; otherwise, it’s not going to be a good time. I love bringing in little treats I’ve experimented with baking at home, going out to grab a drink after work on occasion, and just having a good time with my co-workers. My boss likes to introduce a movie review board to our crews where we each put up our reviews of movies we’ve seen, which is always a fun way to start conversations about the one thing we all have in common: movies rock!

JOBWISE, WHAT DO YOU HOPE TO BE DOING FIVE YEARS FROM NOW?

In five years, I’d love to be a visual effects editor (not just assistant) working on some cool big- budget movies.

WHAT ARE YOUR OUTSIDE ACTIVITIES, HOBBIES, PASSIONS?

Crafting and baking. I love working with my hands and making something out of nothing. I dabble in woodworking, love crocheting, sewing, and making delicious desserts for my friends and co-workers to enjoy.

FAVORITE MOVIE(S)? WHY?

“A Night At The Roxbury.” I know. I get looks whenever I say this, but I can quote pretty much the entire movie. I’ve loved it since I was in middle school. Additionally, pretty much every John Hughes movie. And “Singing In the Rain.” When I was growing up, I danced competitively, and my favorite solo tap performance that I did was to “Singing In the Rain,” so that musical has a special place in my heart.

FAVORITE TV PROGRAM(S)? WHY?

I tell everyone I meet that they need to watch “Dark” on Netflix — it’s so, so good. Some older shows that I love are “Buffy the Vampire Slayer,” “Frasier” (the original; it’s a perfect sitcom), “The OA” (let them finish it, Netflix!), “Chernobyl” (absolutely perfect in every way; I wouldn’t change a thing), “BoJack Horseman,” “black-ish,” “The Good Place,” “New Girl,” and “The Handmaid’s Tale.” I also have a soft spot for most house reno(vation) shows on HGTV, and competition shows like “America’s Got Talent” and “So You Think You Can Dance,” and “The Great British Bake Off.”

DO YOU HAVE AN INDUSTRY MENTOR?

Not officially, but my boss, Warren Hickman, fills that role pretty well. He has taught me so much about visual effects editing and helps me in and out of the business with his experience.

WHAT ADVICE WOULD YOU OFFER TO SOMEONE INTERESTED IN PURSUING YOUR LINE OF WORK?

Attention to detail is big in this job. There are a lot of numbers to keep straight, and you have to be able to catch slight differences in the edit. The community is pretty small because it’s such a niche position, and people are always looking for visual effects editors, so talk to people you know and see if they know of anyone looking for a visual effects assistant editor. I got my first visual effects assistant editor job from the union job board, so I’m proof that it does happen. It doesn’t hurt to go for it!

WAS THERE EVER A CIRCUMSTANCE WHEN YOU HAD TO RELY ON THE GUILD FOR HELP OR ASSISTANCE?

Not yet, but I know where to find you if I need you.

IS THERE ANYTHING YOU’D LIKE TO SAY TO YOUR FELLOW GUILD MEMBERS, SOME WORDS OF ENCOURAGEMENT?

I’m proud to be part of this Guild. I will always remember the day when I finally got my first membership card; it felt like I had finally made it in the industry. We have negotiations coming up later this year, and we are going to have to be strong coming off this year of strikes. It hasn’t been easy on any of us. We need to support each other as we have been supporting our writer and actor friends. Together we are strong.

Where are you currently employed?

I’m a freelance MPEG sound editor based in New York where I collaborate with various companies and teams.

 Current projects?

I recently completed my work on season 2 of “Dr. Death” and will shortly begin work on season 2 of “The Serpent Queen.”

Describe your job.

I work as a sound editor for movies, mainly focusing on theatrical films and TV series. My job is to create and shape the sound in films to make them more immersive for the audience. In film production, usually only dialogue is recorded on set. So during post-production, the dialogue editor cleans and edits dialogue recordings to prepare them for the sound mix. The sound effects editor works on background sounds and special effects. The Foley editor arranges sounds recorded in sync with pictures and created by Foley artists on a dedicated sound effects recording stage to match characters’ movements and actions. The music editor precisely places original music cues and/or licensed recordings in sync with pictures for optimum emotional impact. Finally, all these edited sounds are mixed together by the re-recording mixer(s) to fit perfectly in each scene. It’s a team effort, and together we bring stories to life, creating a memorable auditory experience for the audience.

How did you first become interested in this line of work?

My college major at the Shanghai Conservatory of Music was piano performance, but an elective course on film sound design unexpectedly ignited my passion for film sound editing and sound design. I was blown away to discover that sound is painstakingly constructed layer by layer in the post-production process. It’s truly remarkable! So, I made the decision to pursue a master’s degree in Sound for Motion Pictures at the University of Miami.

Who gave you your first break?

On season 3 of the Apple+ TV series “Dickinson,” my supervisor, Luciano Vignola, gave me the opportunity to be a sound effects editor. That was my first editor job. It was a fun project that provided ample opportunities for inventive sound design — from the chaos of a Civil War battlefield to the mind-bending concept of time travel, from the eerie ambiance of a lunatic asylum to the harrowing depths of the inferno. Each of these challenges encouraged me to experiment with sound, expanding my passion for the craft and pushing the limits of auditory storytelling. I was happy that my sound effects work turned out well and everyone was satisfied with the results. Luci’s mentorship and trust in my abilities played a pivotal role in shaping my career, and I will always be grateful for that chance to prove myself in the field.

What was your first union job?

During the year following my graduation from the university, I had the privilege of meeting Suzana Peric, who had just begun working as the music editor for “Little Women.” I had the honor of working alongside her for several months, collaborating on searching for appropriate classical music compositions and arrangements, facilitating and organizing recording sessions, and more. I thoroughly enjoyed my time working on that job, and it was a valuable experience.

What credits or projects are you proudest of, and why?

Season 3 of “Dickinson” and season 3 of “The Righteous Gemstones Season 3” are milestones for me. “The Righteous Gemstones” gave me my first experience as a Foley supervisor in a TV series. I was responsible for cueing and editing Foley, which involved overseeing all sound effects recorded in sync with the picture — character actions including footsteps, clothing rustling, and other physical interactions with people and objects in the story’s world.

Additionally, I needed to gather sounds that are typically challenging to find in standard sound effect libraries, like the sound of wooden planks breaking or the delicate vibrations of insect wings. In one episode, there is a long scene that features a swarm of locusts. To ensure an authentic and impactful sound experience while considering the intricacies of Dolby Atmos mixing, we recorded and edited multiple layers of distinct locust sounds. These layers included the dramatic whooshing of the swarm through the air, the percussive impact of locusts hitting various surfaces like wood, concrete, and metal, and the unsettling sound of locusts being crushed underfoot. The final audio result, especially when experienced in Atmos, is nothing short of astonishing. The producer was very satisfied and impressed with the outcome. It was a fantastic working experience.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

I find that every project comes with its own challenges, whether it’s the pressure of adhering to a tight schedule, striving to craft a truly satisfying sound design, or encountering unexpected technical issues. What I’ve learned is that good communication and patience are essential. Film and television are collaborative efforts, and sound for those media, no less so. Effective communication with colleagues and supervisors is often the key to resolving any issues and ensuring the project’s success.

What was the most fun you’ve had at work?

The most enjoyable moments for me at work are when I create something that I find really satisfying, or when I receive positive feedback from audiences. Knowing that I’ve contributed to the storytelling means a great deal to me, and it also serves as motivation for me to continue producing quality work.

Jobwise, what do you hope to be doing five years from now?

My aspiration is to become a more proficient sound editor, particularly for drama features and TV series. I aim to gain extensive experience in both dialogue and sound effects editing and to collaborate with an ever-widening array of talented individuals in the industry.

What are your outside activities, hobbies, passions?

I am a big fan of concerts, art galleries, and museums. Arts share a common purpose: to convey beauty and inspire creation. I’ve been a musician for over 20 years. Even though I’ve transitioned into the film industry, music still has a profound influence on me. I feel that sound shares remarkable similarities with music. When I create a soundscape, it feels akin to a composer crafting a score.  Music employs notes and melody to express emotions and atmosphere, while sound design utilizes various elements to enhance the auditory and emotional experience in film.

Favorite movie(s)? Why?

There is an abundance of exceptional movies out there, so it’s a challenge to pinpoint my absolute favorites. Personally, I’m more into dramas that have compelling storylines, particularly those that carry a touch of tragedy or sadness. For me, films like “The Insider,” “25th Hour,” and “The English Patient” stand out not just for their compelling stories but also for their terrific music and sound. I have those soundtrack albums and many others on my Spotify.

Favorite TV program(s)? Why?

“Criminal Minds,” “Breaking Bad”. I love the intriguing explorations of criminal psychology, complex character arcs, and moral dilemmas that make their narratives so involving.

Do you have an industry mentor?

I’m fortunate to have several mentors, but among them, Jeffrey Stern holds a special place. He was a renowned dialogue editor in New York before he retired and also happened to be my professor in the university. He selflessly imparted his extensive knowledge and skills to me, even affording me the opportunity to collaborate on independent feature films while I was still a student. Furthermore, he played a pivotal role in helping me establish industry connections that became the bedrock of my future career. Beyond mentorship, Jeffrey has become a dear friend, and whenever he returns to New York, we always catch up over coffee.

What advice would you offer to someone interested in pursuing your line of work?

Be humble, be patient, and stay prepared; opportunities will present themselves when you are ready.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Fortunately, I haven’t needed it, but I’m confident the Guild will be there for me should the need arise.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Being a member of a union and the post-production community is truly fantastic. I feel honored and enthusiastic to collaborate with so many talented and dedicated individuals, and I look forward to many years of creating stories with them for audiences worldwide to enjoy.