Issue link: https://digital.copcomm.com/i/1513564
20 C I N E M O N T A G E W H A T O U R M E M B E R S D O Q: Where are you currently employed? I'm a freelance MPEG sound editor based in New York, where I collaborate with various companies and teams. Q: 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." Q: 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 immer- sive 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 AILIN GONG SOUND EDITOR Ailin Gong. to prepare them for the sound mix. The sound eects editor works on background sounds and special eects. The Foley editor arranges sounds recorded in sync with pictures and created by Foley artists on a dedicated sound eects 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 mix- er(s) to fit perfectly in each scene. It's a team eort, and together we bring stories to life, creating a memorable auditory experience for the audience. Q: How did you first become interested in this line of work? M y c o l l e g e m a j o r a t t h e S h a n g h a i Conservatory of Music was piano perfor- mance, 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 pur- sue a master's degree in Sound for Motion Pictures at the University of Miami. Q: Who gave you your first break? On season 3 of the Apple+ TV series "Dickinson," my supervisor, Luciano Vigno- la, gave me the opportunity to be a sound eects editor. That was my first editor job.