The Sound Editing workshop will focus on a diversity of topics relating to the art of sound editing.

You will have the chance to not only receive this knowledge from Academy Award Winning Sound and Music Editors John Warhurst and Nina Hartstone, but also to interact strongly, as the group will have up to 25 participants, making it extremely practical and interactive. You will also have the opportunity to assess any issues you have encountered on your films, and receive the feedback to unblock situations in the future.

The workshop will also cover the following:Pre-Production Planning
– testing workflow
– liaising with the Sound Mixer
– logistics for sound on set including music playback if required
– director’s vision for final sound track

Production Sound: Making the Most of Every Opportunity
– making the most of unique opportunities on set
– Wild Tracks
– SFX
– Location ambiences

Director’s Cut: beginning Post Production
– handover from Production Sound Mixer
– supplying sounds to editorial
– supplying music to editorial
– improving production sound for the Avid tracks
– temp ADR
– workflow with Editorial
– turnover elements

First Temp Mix / Test Screening
– crewing up
– target audience
– screening location and sound quality
– managing expectations
– how to mix (Avid or stage)
– Avid tracks or all mics
– temp Foley
– temp SFX
– temp ADR
– temp Music
– how they can become the finished product
– stems to go back into the Avid
– workflow of Avid tracks moving forward

Finding the Cut
– managing new cuts
– improving the sound throughout picture edit
– editing production dialogues
– planning for ADR / Crowd / Foley / FX and Music recordings
– source music requirements
– sound editorial track lays
– ADR tips and tricks
– making choices for the mix
– preparing alternatives

Preparing for the Mix
– liaising with the Re-recording mixers
– Track layout
– Separation of stems
– Mixing in Atmos
– Score recording

Premixing and Mixing
– planning your premixes
– maintaining flexibility with the tracks
– Getting the overview of all the sound and music elements
– Mix reviews

Deliverables
– planning time for all versions
– QC ing
– M+E
– TV Airline Version

Politics
– different roles and their responsibilities
– managing different personalities
– being open to other creative ideas
– talking through logistics and problem solving
– working as a team
– building up a client base/securing the next gig
– coping with long hours

Nina Hartstone is an Oscar-winning Sound Editor with over 25 years of experience in the film industry. Her illustrious career includes work on feature films such as “Evita,” “The Hours,” “Gravity,” “Everest,” “Beauty and the Beast,” and “Mowgli.” Notably, her exceptional skills were instrumental in the sound editing of “Bohemian Rhapsody,” for which she received both an Oscar and a BAFTA award, highlighting her as a leading figure in her field.

Recently, Hartstone has worked on “Moonage Daydream” and “I Wanna Dance with Somebody,” both of which have already been released to critical acclaim. Additionally, Nina has worked on the recently released and highly acclaimed film “Saltburn,” directed by Emerald Fennell, further cements her reputation for excellence in sound editing.

Nina Hartstone has contributed her skills to an impressive array of feature films, working alongside some of the most distinguished directors in the industry such as Alan Parker, Stephen Daldry, Alfonso Cuarón, Baltasar Kormákur, Bryan Singer and many more

Residing in Windsor, U.K., with her husband, three children, and two cats, Hartstone remains at the forefront of her profession, consistently demonstrating her expertise and passion for sound editing in feature films.

Nina Hartstone experience speaks for itself and guarantees the high standards our participants have come to expect from FEST FILM LAB.