Moderated by Yuming Zhang
Have you ever wondered what is...
Production Sound Mixing
Foley and ADR Engineer
Do I need to record room tone?
Why should I never shoot a shot MOS?
Can I fix it in post?
Should I ADR all my lines?
Is foley just recording footsteps?
Can I do sound design in Premiere?
What’s re-recording mixing?
Why can’t my composer understand my vision?
You can't make a good film without good sound.
This panel will help you understand the importance of sound, what each process is like, and how to communicate with sound people.
If you want to be a director, this panel is tailored just for you.
Simon Geisker is a NYC based production sound mixer and documentarian. He has recorded audio for dozens of clients including ESPN, Scientific American, and T: The New York Times Style Magazine. He graduated from New York University’s Tisch School of the Arts with a B.F.A in Film & TV Production in 2022.
I am a screen-scoring Master's student at NYU Steinhardt. I recently graduated from Brown University where I completed a dual degree in Music with honors and Political Science. I am also the co-founder of Cutting Room Music, where I works alongside veteran media composers Mark Roos and Adonis Tsilimparis. Our team is currently working on music for a number of television and media projects. I will be talking about how I spotting a film and how to approach a film score using technology with DAWS.
Jingxi Guo is a Sound Editor, Sound Designer, and Sound Mixer, a graduate of Beijing Film Academy and ITP, NYU Tisch. Major sound works include Will You Look at Me, Green Night, and Break. The films he participated in were shortlisted in major international film festivals such as Cannes Film Festival, Berlin International Film Festival, Busan International Film Festival, Sundance Film Festival, IDFA, etc.
Haina Zhou is a sound designer and re-recording mixer based in New York, graduated from NYU with a BFA in Film & TV Production in 2022. Her works have been recognized at film festivals, including the Sundance Institute Uprise Grant, the Cairo International Film Festival, the Xining FIRST International Festival, and the Austin Film Festival. In collaboration with the Harvard Chinese Arts and Media Lab, her sound installation projects have been exhibited at the National Gallery Singapore and the Luoyang Museum in China. Her recent installation piece is screening at The Shed New York.
Gavin Edmonds has been an engineer for ADR and Foley for three years at NYU Tisch. His earliest foley work consisted of a zoom H2n recording footsteps in his closet. He has most recently worked on Rono Pal’s short film ‘Golden Duck’, Rick Rocha’s web-series ‘The Snag’, and Jay Villas Boas’ short experimental film ‘The Table.’ Over his tenure, Gavin has recorded over 2,000 footsteps.