Issue link: https://digital.copcomm.com/i/1335892
82 I M PS E . O R G fi lm every day, in all departments. Then I used the music reference to present all the elements in context. After that, we spent another couple of weeks in the mix, where I would send things back and forward for feedback from Zach and Chloé from my studio here. Do you have members of the team you'd like to mention? Absolutely. You know already the Foley guys and Zach. I'd like to mention the sound effects editors, Luis Parra, Luis Huesca, and my lead effects editor Carlos Honc. Micky Sierra as well. My fi rst assistant sound editors, Alitzel Díaz, André Díaz, and Giobeth Díaz, they are amazing. We had a great team for Nomadland. Do you have full-time employees in your company or is everyone contracting with you? In my company, I have a couple of people working all the time with me and there are other ones as freelance. That's how it works best here in Mexico. In my company, I have my own facilities, so they can choose to work inside my facility or freelance outside. Other ways I work is like how we did Nomadland with collaboration from people outside of Mexico. What do you have to say to people starting in sound design? Sound design. It's a very complex term for many people. From my perspective, it's always a treatment of editing and mixing process and it always goes hand in hand with the original idea and if you stay true to it, it will tell you everything you want to convey. So that's what I always pass on to my colleagues so that we are always on the same page. We always need to respect the original idea from the director. Make sure you have options for the directors so that they have possibilities to change ideas. It's very important when showcasing use these sounds and this was fi nally that moment. I could not go out and record during this pandemic so that caused some diffi culty. All my editors did the same so that we could make a huge library just for Nomadland. We then had the opportunity to show Chloé four options for all the soundscapes. I sent her many options with everything in context. Usually the director is always with you so you can easily present these options and make fast changes. This process was more challenging but it worked well and I'm happy for that. How much time did you spend in pre-production, post, and fi nal mix? I started on June 4 and at this time, I knew what I would need to do for the process of recording and fi nding elements in my library. I spent three weeks to come up with ideas. Then we worked over 10 weeks fi nishing fi ve minutes of the