Issue link: https://digital.copcomm.com/i/1541535
Winter 2026 – LOCAL695.COM 27 Street Studios Wellington, New Zealand. Digital and physical sets had to match in scale and how they were lit. The human actors had to interact with Na'vi that were digitally rendered into the camera as a live image. Ryan Champney, our Virtual Production Supervisor, oversaw this process with elegance and command. His assistance and knowledge guided my every move throughout filming. None of what I will describe would have been possible without my team. Ben Greaves' (1st AS) contribution cannot be overstated. His problem solving, work ethic, and attention to detail made this entire collaboration possible. He has worked alongside me for so long now, we have a shorthand and way to work. He is my closest friend and ally. We had many other team members, Kayla Croft, Scott Solan, Yohannes Skoda, Zach Wrobel, Tim Salmon, Jamie Gambell and Iris Von Hase, playing parts in utility, additional boom and comms. All of them brought their A-game and again without them we would not have been able to navigate this herculean task. As a Production Sound Mixer, I understand that sound is not merely an addition to the visual experience—it's a critical component that can transform a simple scene into a captivating narrative. The production of Avatar: Fire and Ash exemplified this. Throughout the filming process, our team implemented various techniques to ensure that every auditory element complemented the film's immersive experience on set, as well as in the final product. In the world of filmmaking, production sound plays an instrumental role in crafting the final product, often going unnoticed by audiences but essential for fully engaging them in a story. The philosophy was simple: capture truth in the moment. Not just dialog, but the emotion behind it. Not just sound, but story. This was a theatrical experience on a performance capture stage. When filming on a performance capture stage, multiple cast members and background actors inhabit the same space, often interacting in complex ways. Capturing sound becomes a delicate balancing act of technology and artistry. From the outset, I knew this was going to be a unique experience—bigger, deeper, and more demanding than anything I'd ever worked on. Helmet rig Julian Howarth, Jon Landau, and Supervising Sound Editor Gwendolyn Yates Whittle enjoying some downtime. Sam and Zoe, for intimate scenes we removed the face cameras so actors can be free to perform, with DPA 4071 attached to top of helmets