Issue link: https://digital.copcomm.com/i/1401154
productions gain when appropriate time is allocated to each process. There is a growing appreciation of how a production is elevated when ample time is allowed to tackle both the technical and creative aspects of a lm's soundtrack. He used to build every aspect of the mix. However, as he's built up his business, he has a trusted team of collaborators and business partners to run the business and manage the stages. He is now a freelance mixer and sound supervisor for Clap Studios, as well as for other direct clients both locally and internationally. This has allowed him to craft his mixes with fewer distractions and also allowed him to participate in different organizations to promote sound and lmmaking. Daniel says you never "know how to mix" any particular show. You have the tools, the base knowledge, experience, and personal criteria, but you are always guring out how to address the specic challenges of each project and always attempting to discover new ways to more eloquently tell the story. Every mix is a puzzle where you need to nd the right t for all the sonic pieces if your audience is going to want to open up the puzzle box! Each sound clip can be nely sanded to t with all the elements within the project. There is joy in nding ways to satisfy a client who wants to make the sound more "purple" or needs "loud silences" or calls for sonic "chaos" in the script. Sometimes "a drop of water can be the most chaotic thing—if used correctly." In the end, it's a matter of human interaction, understanding creative visions, and relating as human beings—while maintaining the utmost respect for the job, the people, and the projects. While the last year of COVID has been hard on everyone, Daniel found through the years that you can work on projects from anywhere in the world. It might be a little harder without being in person, but it can happen with the right focus. The world is open for all of us to connect. In fact, that's one of the aspects he's currently focusing on; broadening the scope of his work to collaborate with more people internationally, all to promote the use and power of sound. Daniel has tackled every challenge he's faced with research, hard work, dedication, and creativity. Judging by the award nominations and high-quality work he's done so far, there's lots more sonic fun ahead. I am excited to meet with him during his next visit to the United States or to sit down with him at a virtual table at one of our future CAS events. "Ever y mix is a puzzle where you need to find the right fit for all the sonic pieces." Winning Best Sound for Guilty Men at the Colombian Film Awards in 2017, with Daniel Garces (supervising sound editor) and José Flórez (production sound mixer) At Cinecolor during the mix sessions for City of Dead Menwith director Kirk Sullivan.