Issue link: https://digital.copcomm.com/i/1401154
for festivals was more than just adding music to their production track. He quietly let people know the value of a 5.1 fully lled cinematic mix that used sound as a powerfully creative narrative tool. Once a project began, he would oversee FX gathering and cutting, edit dialogue and music, and then spend time on the stage to craft a nely polished mix. After years of building up his clientele with the capable assistance of his business partners and work team (Gabriel Perez, Daniel Jaramillo, Sebastian Alzate, and Laura Álvarez), they were able to upgrade to a larger mixing stage for theatrical releases, hiring WSDG to help design and engineer. Once Dolby heard that he had a legitimate stage and acoustic design crew, they were happy to provide him with assistance and speci cations to make his stage a completely Dolby- certi ed location. Even with the engineering assistance, Daniel still had to carefully oversee the entire build. This included nding and sourcing materials and gear, importing the screen and other equipment, and even working with a local rubber factory for several months to custom manufacture a oor material with proper sound absorption, letting him complete the project with the high standards he was demanding. The studio is said to actually be the last stage Dolby-certi ed before they switched over to only certifying Atmos theatrical stages. Daniel's persistence and vision have paid off, allowing him to work on projects for Netlix, BBC, Discovery, and on lms and projects from countries such as the United States, the United Kingdom, France, Argentina, Panama, Brazil, Mexico, and Peru. His studio's work has screened at top festivals like Cannes, Venice, Toronto, Sundance, and Berlin. Daniel enjoys sharing the knowledge gained from working on so many different projects with such diverse collaborators, and has encouraged and enabled many lmmakers to enter the world of motion picture sound. He's been a teacher and a guest speaker at universities and conferences where he's been able to communicate his passion for lm sound with colleagues both established and new. You may be familiar with Daniel's name as he wrote a wonderful piece for the Fall 2020 CAS Quarterly about the importance of production sound in crafting the life and reality of a show. Local productions often prefer nonprofessional actors, so being able to use their actual performances— gathered in real-world locations and conditions—is often essential to nding the best moments for the lm. Even the production effects add a veracity to the sound that helps tell the story—gluing elements together more precisely and powerfully than any generic build ever could. Daniel also contributed Mixing at Clap Studios in Medellín, Colombia Daniel Vasquez CAS