Issue link: https://digital.copcomm.com/i/1545202
C I N E M A A U D I O S O C I E T Y. O R G 57 What prompted you to leave China and study sound in the UK? During my undergraduate studies in China, I found myself particularly interested in ambient sound and soundscapes. I became fascinated by how the flow of sound atmospheres can shape emotional perception. As I watched films from different countries and languages, I began to notice that sound carries strong cultural identity. The treatment of space, dialogue, silence, and atmosphere varies significantly across regions. I realized that if I wanted to develop a deeper and more refined listening practice, I needed to place myself in a more international and collaborative environment. The UK has a rich artistic heritage and strong connections to global film industries, particularly with the U.S. and Australia; an international collaborative hub that felt like an ideal place to grow. Studying here has allowed me to broaden my listening perspective and develop a more rigorous, professional, and globally informed approach to sound storytelling. Please elaborate on your journey into the world of sound. What inspired you and what drives you to increase your skills and become a better mixer? My relationship with sound began very early through listening. My grandpa was the first person who taught me how to engage with the world through sound. Before language, there was listening, and for me, listening became a way of understanding emotion. I was initially intrigued by sound design, especially the creative process of building sound worlds. However, through collaboration, I gradually realized how crucial mixing is in shaping the final emotional experience of a film. Mixing is where all creative decisions are ultimately resolved. It is the moment where the soundtrack becomes final, where intention becomes perception. L-R: Linnan Liu, Joseph Crews, Mingxi Xu, Aidan Jones, and Evan Nowack What drives me is a curiosity about emotional clarity, how sound choices influence what an audience feels and understands. I'm deeply interested in decision-making: what to keep, what to remove if it's distracting, and how to guide attention to the story through sound. What's your favorite part of the sound-for-film process? My favorite part happens in the final mixing stage, re-recording. This is where details are refined and brought into focus. Subtle elements that were once hidden begin to find their place, and the soundtrack gains a sense of movement and cohesion. Although mixing may appear to be about balancing, it is fundamentally about decision-making, about shaping flow, refining detail, and knowing what to prioritize to support the story. It is also one of the most collaborative stages of the process. Sitting together with the team, discussing choices, designing transitions, and feeling the film emotionally "lock" into place. That moment is incredibly rewarding. For me, mixing represents the final polish and wrap of the storytelling journey. What does the CAS Award mean to you and what will you do with the money? Receiving the CAS Student Recognition Award is both an encouragement and a responsibility. It reassures me that my pursuit of becoming a re-recording mixer is meaningful, and it recognizes the progress I have made so far. At the same time, it motivates me to remain humble and continue learning. The prize will directly support my professional development. I plan to upgrade my home studio from a stereo setup to a 5.0 monitoring environment with LCR and surround speakers, upgrading my audio interface, and investing in an Avid S1 control surface. Having a reliable 5.0 setup will allow me to make more informed creative decisions before stepping onto a professional