Issue link: https://digital.copcomm.com/i/1530856
22 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 contains "temp" recordings of the lines the editor or actors have recorded, often on their phones. While some lines may be added for storytelling clarity, my primary focus is to identify lines that need re-re- cording because of issues like noise, audio clarity, sync, or crosstalk. Once these lines are recorded, I sync them to picture, and then the re-recording mixer fine-tunes them by matching them sonically to produc- tion sound. It's important to recognize that ADR isn't just for the main actors; extras also play a crucial role. This is where the "loop group" comes in. L oop group consists of voice actors who provide sound for background characters we see on screen but typically don't hear. Each loop group session leaves me in awe of these actors' incredible talent—their ability to adapt their voices, improvise, and sync dialogue to picture is truly impressive. While dialogue and ADR editing can be highly technical, they often require significant creativity, too. Each project offers unique challenges that require inno- vative approaches, tools, and techniques to achieve the best sound quality. Dialogue is the heart of any production; if the audience misses crucial lines due to unclear audio or distracting sounds, we haven't fully succeeded in doing our job. The art of sound editing—particularly dialogue and ADR— should be an invisible craft; when audiences don't notice our work, we know we've done our job right. Q: How did you first become interested in this line of work? Like many kids, I initially dreamed of being an actress and singer. As I grew older, I realized my true passion was behind the camera, which led me to discover sound engineering. I'm originally from Caracas, Ve n e z u e l a , w h e r e n o u n d e r g r a d u a t e degrees were offered in this area of study. Fortunately, my parents supported my aspirations and allowed me to study abroad. I earned my B.S. and M.A. in Audio Technol- ogy at American University in Washington, DC. Through various internships and ex- periences in audio, I realized that sound editing for film and television was where I truly belonged. Fu r t h e r m o re, I l e a r n e d h ow u s e f u l my physics minor could be when applied to sound for f ilm. As a postproduction sound professional, I believe that creating a realistic soundscape is essential, and understanding the physics of sound is fun- damental to achieving that goal. Reflecting on my childhood, I can see I was destined for this career path. I vividly remember being captivated by the sound design in films, especially animated mov- ies. I would memorize lines and attempt to p e r f o r m t h e m j u s t l i k e t h e a c to r s. Little did I know that this passion would become a valuable asset in my work super- vising ADR sessions. In summary, while I formally decided to focus on postproduction sound in college, I believe that was always the path I was meant to take. Q: Who gave you your first break? My first job after graduating college was with The Walt Disney Company/ABC, where I worked as an audio mixer handling sound for their TV show promos. I loved my time there and cherished the experience. Q: What was your first union job? M y f i r s t u n i o n j o b w a s a s a n A D R editor on the feature film "The Slumber Party" from Disney television and Imagine Kids+Family. Unlike recent projects where I would have the opportunity to supervise and edit ADR, the supervising sound editor led the recording sessions on that occasion. I had just moved from Spain and all the ADR had already been recorded. Thus, I took all the notes and the recorded material and cut it to picture. It was such an enjoyable project to work on, especially because I've always loved family-friendly comedies like that one. Q: What credits or projects are you proudest of, and why? I am proud of all the projects I've worked on, but one holds a special place in my heart: the Spanish TV show "Veneno." This project is significant to me for several reasons. First, it was my first credit as a dialogue editor and ignited my passion for the art of cutting dialogue — an unexpected shift, as I once believed my niche was sound design. Second, it marked a pivotal moment in my career by allowing me to transition from assistant sound editor to sound editor. This was a significant challenge, but it helped me realize I was capable of far more than I had ever imagined. Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it? In a feature film I worked on in December 2023, nearly every scene featured back- ground actors. I had created an extensive cue sheet, but by the time we reached the halfway mark of our scheduled loop group session, we had recorded only a quarter of the cues. I began to panic. B u t t h e n I r e a l i z e d t h a t w o r r y i n g wouldn't help. Instead, I took a moment to breathe and gather my thoughts as I sought a solution. I decided to focus solely on the most critical cues, which required quick, assertive decisions—something I felt quite insecure about. However, I trusted my instincts and pushed aside my self-doubt. Fortunately, this approach allowed me to streamline the process and finish the session on time. We recorded the essential elements that truly enhanced the story- telling. I couldn't have accomplished this without the incredible work and talent of the loop group actors and ADR mixer by my side. Q: What was the most fun you've had at work? I always enjoy my job, but if I had to choose a highlight, it would be supervising loop group sessions. It's incredibly enter- taining to witness the actors' improvisation skills, including their ability to switch seam- l e s s l y b e t w e e n c h a r a c t e r s . E a c h session brings a new level of creativity and spontaneity that makes the experience truly enjoyable. Q: Jobwise, what do you hope to be doing five years from now? I aspire to supervise not only ADR but also all the sound elements of a production. Q: What are your outside activities, SEE PAGE 61