Issue link: https://digital.copcomm.com/i/1545202
58 S U M M E R 2 0 2 6 I C A S Q U A R T E R L Y mix stage, which is especially important at this stage of my career. I will also invest in acoustic treatment to improve the accuracy of my listening environment. A well-calibrated space not only improves my own judgment but also builds trust when collaborating with directors. This financial award enables me to invest directly in both craft and collaboration. Having won this award, do you have any advice for someone who would like to apply for the Student Recognition Award? I think it's important for applicants to communicate their creative journey honestly and clearly. Mixing is not just technical; it is about storytelling and collaboration. A strong submission should demonstrate thoughtful decision-making, not just clean sound. Even though mixing is the final stage, many creative ideas are realized and refined during this process. It's important to show how you listen, how you collaborate, and how you make decisions. Passion is important, but clarity of intention is equally essential. Do you have any advice for someone starting out in the sound-for-film business? I'm still at the beginning of my own sound journey, but something I often remind myself is to listen before speaking. Be patient, stay humble, and take the time to build meaningful relationships. Before focusing on plugins or software, try to understand how sound conveys emotion and how different materials feel. In collaboration, avoid dismissing ideas too quickly, explore them together and allow space for discussion. When working with more experienced professionals, listen carefully. Even if you don't fully agree, their experience is always valuable. Do you have any stories or challenges from your path that would be fun to share? One project that challenged me was Mermaid, a science and natural history documentary I worked on during my first year at NFTS. We had only one week to complete the entire soundtrack, starting with just interviews and narration. I spent a significant amount of time focusing on detailed sound effects editing rather than the overall balance. The main challenge was balancing three competing elements: the director's emphasis on detailed industrial fishing sounds, a vocal-heavy score inspired by sea shanties, and the emotional clarity of the narration. Due to limited communication, our first mix felt disconnected. I realized the issue wasn't technical, it was collaborative. I had rushed the process and overlooked the importance of dialogue. Later I invited the director back for a second mix, approaching it with more patience and openness. That experience taught me that successful mixing depends not only on technical skill, but also on trust and empathy. Who have been the people that have influenced you the most and what did you receive from them? My grandfather, Xu Keming, was the first person who taught me how to listen to the world. He guided me through sound before teaching me language and how to speak, and that foundation continues to shape how I perceive and work with sound today. Professionally, Graham Hartstone has been one of my most important mentors. He taught me how to listen to film, and to understand rhythm, space, and restraint. From him, I learned that mixing is not about adding more, but about choosing wisely. What's your next step? My next step is to continue building industry connections and seek opportunities as an assistant re-recording mixer or mix technician. At the same time, I'm open to starting in sound editorial to deepen my understanding of complex film sound design. My goal is to build a strong technical and collaborative foundation to support a long-term career in re-recording mixing. Is there anything else you would like to add? I would love to see more women, especially Asian women, enter the field of re-recording mixing. Diversity of perspective is incredibly important in storytelling. I believe that richer listening experiences lead to more powerful and nuanced films. Pictures from Mingxi's favorite hobby—field recording.