Special Virtual Event Honoring the Year's Top Creative Talent in Sound for Film

Presented By

  • MIX Sessions

Awards Season 2025 Is Under Way!

Mix Presents Sound for Film: Awards Season special event to feature contenders for Best Sound, Best Original Score and Best Original Song for the Academy Awards, MPSE Golden Reel Awards and CAS Awards.

While Hollywood is busy putting the finishing touches on its upcoming holiday releases, the film sound community has its eyes and ears set on Monday, December 9, when nomination voting opens for the Oscar Shortlist in Best Sound, Best Original Score and Best Original Song.

Before filling out your ballot, join us on December 6 as Mix kicks off Awards Season with "Awards Season: Shortlist," a virtual event offering an early look at some of the contenders in Best Sound for the 2025 Oscars, MPSE Golden Reel Awards and CAS Awards. Through a series of video presentations, the event will showcase the creative sound teams behind the year's top films.

Who Attends:

  1. Manufacturers: The leading manufacturers in sound for picture technology from leading major and independent Hollywood studios.
  2. Creatives: Independent and facility-based sound editors, mixers and technologists, working with dialog, effects and music.
  3. Technologists: Chief engineers, system integrators and the leading developers in workflow and product development.

Full Agenda

  1. WELCOME

    Tom Kenny
    Tom Kenny Mix
  2. Sound for GLADIATOR II - Presented by Paramount Pictures

    Matt Collinge
    Matt Collinge Supervising Sound Editor/Re-Recording Mixer
    Danny Sheehan
    Danny Sheehan Supervising Sound Editor
    Stephane Bucher
    Stephane Bucher Production Sound Mixer

    Ridley Scott films are a sound team's dream job, with rich environments, spectacular action scenes and compelling storylines. With Gladiator II, it's back to ancient Rome and the Coliseum, with swords, catapults and, this time around, an epic naval battle.

  3. Sound for WICKED - Presented by Universal Pictures

    Andy Nelson
    Andy Nelson Re-Recording Mixer
    Nancy Nugent Title
    Nancy Nugent Title Supervising Sound Editor
    Simon Hayes
    Simon Hayes Production Sound Mixer
    John Marquis
    John Marquis Supervising Sound Editor and Sound Design/Re-Recording Mixer

    Bringing a hit Broadway musical to film poses unique dialog and vocal challenges as the lead performers glide from the spoken word into a rousing song. Find out how the Wicked sound team set up a system for production and in the studio that captured Cynthia Erivo and Ariana Grande singing live on the set, then blended in orchestra, band and background singers, and then mixed it all together in Dolby Atmos.

  4. Sound for NICKEL BOYS - Presented by Amazon MGM Studios

    Nicholas Monsour
    Nicholas Monsour Editor
    Scott Alario
    Scott Alario Co-Composer
    Alex Somers
    Alex Somers Co-Composer
    Mark LeBlanc
    Mark LeBlanc Sound Mixer
    Daniel Timmons
    Daniel Timmons Co-Supervising Sound Editor / Re-Recording Mixer
    Tony Volante
    Tony Volante Re-Recording Mixer

    In adapting Colsoon Whitehead's Pulitzer Prize-winning for the big screen, director RaMell Moss took the unique approach of shooting the entire POV from the two protagonist's viewpoints, leading to an equally experimental approach to sound and score.

  5. Sound for DEADPOOL & WOLVERINE - Presented by Disney

    Craig Henighan
    Craig Henighan Re-Recording Mixer
    Ryan Cole
    Ryan Cole Co-Supervising Sound Editor
    Rob Simonsen
    Rob Simonsen Composer

    The Marvel action-comedy blockbuster has become a staple of the film industry, and nobody does superhero comedy like Deadpool. For the sound team, that means weapons, explosions, car chases, big score, classic pop songs and so much more, all on an epic scale, and all while hearing every word of Ryan Reynolds' rapid-fire delivery and Hugh Jackman's terse, anger-fueled responses.

  6. Sound for CONCLAVE - Presented by Focus Features

    Volker Bertelmann
    Volker Bertelmann Composer
    Valentino Giannì
    Valentino Giannì Production Sound Mixer
    Ben Baird
    Ben Baird CAS, Re-Recording Mixer

    The Vatican itself becomes a character--from the echo of pillared halls, to the private whispers in the back rooms, to the rhythm and squeaks of footsteps on marble--in the final mix of Conclave, and when coupled with Academy Award-winning composer Volker Bertelmann's score, it takes the audience emotionally and spiritually inside one of the world's most private and holy sanctuaries.

  7. Sound for DUNE: PART TWO - Presented by Warner Bros

    Richard King
    Richard King Supervising Sound Editor/Sound Designer
    Doug Hemphill
    Doug Hemphill Re-Recording Mixer
    Ron Bartlett
    Ron Bartlett Re-Recording Mixer

    The first film in director Denis Villeneuve's epic Dune trilogy is a tough act to follow, having taken home six Oscars in 2022, including Sound, Score, Editing and Cinematography. But the story has so much more to offer, both visually and sonically, as we return to the Bene Gesserit, Harkonnens, Fremen, and the sands and winds of planet Arrakis. And this time Paul Atreides, the Muad'Dib, rides a sandworm.

  8. Sound for MARIA - Presented by Netflix

    John Warhurst
    John Warhurst Supervising Sound Editor
    Gwennolé Le Borgne
    Gwennolé Le Borgne Supervising Sound Editor
    Lars Ginzel
    Lars Ginzel Re-Recording Mixer
    Mac Ruth
    Mac Ruth Production Sound Mixer

    Angelina Jolie stars as opera singer Maria Callas in director Pablo Larrain's third and reportedly final bio-drama of important 20th century women. The period backgrounds, the intimacy and mystery of a private life, and the full-blown performances of a legendary soprano are interwoven masterfully by a tight, production-to-post, international sound team.

  9. Sound for KINGDOM OF THE PLANET OF THE APES - Presented by Disney

    Ai-Ling Lee
    Ai-Ling Lee Re-Recording Mixer/Sound Designer
    Tobias Poppe
    Tobias Poppe Sound Designer/Supervising Sound Editor
    Andrew Nelson
    Andrew Nelson Re-Recording Mixer
    Mark Van Kool
    Mark Van Kool Production Sound Mixer

    It's all about the Apes this time around, as one of film's most enduring and entertaining franchises returns amid a battle for dominance in the new world order. The growth and maturity in ape vocalizations and language, the emergence of old/new technologies, and an emphasis on nature sounds and organic effects--along with big battles, of course--make this latest look at the Apes sound all new again.

  10. Sound for JOKER : FOLIE A DEUX - Presented by Warner Bros

    Erik Aadahl
    Erik Aadahl Supervising Sound Editor/Sound Designer
    Ethan Van Der Ryn
    Ethan Van Der Ryn Supervising Sound Editor/Sound Designer
    Dean Zupancic
    Dean Zupancic Re-Recording Mixer
    Tom Ozanich
    Tom Ozanich Re-Recording Mixer
    Jason Ruder
    Jason Ruder Supervising Music Editor
    Steve Morrow
    Steve Morrow Production Sound Mixer

    The Gotham City that the Joker inhabits is a dark place, with a dark, brooding and sometimes maniacal backdrop that is echoed in the sound effects, Foley and background tracks, especially when blended and intertwined at the final mix with Academy Award-winning composer Hildur Guonadottir's mesmerizing score.

  11. Sound for EMILIA PEREZ - Presented by Netflix

    Cyril Holtz
    Cyril Holtz Sound Supervisor/Re-Recording Mixer
    Aymeric Devoldegrave;re
    Aymeric Devoldère Supervising Sound Editor
    Hortense Bailly
    Hortense Bailly Supervising Voice Editor
    Carolina Santana
    Carolina Santana ADR Supervisor

    There's nothing quite like Emilia Perez out there. It's been described as a "genre-defying musical-crime-comedy-thriller," but even that doesn't do justice to the story of a cartel crime boss who stages his own death and undergoes gender-affirming surgery in order to start a new life. Now imagine the story in sound and song, as this innovative and experimental audio team did.

  12. Sound for ALIEN: ROMULUS - Presented by Disney

    Will Files
    Will Files Re-Recording Mixer/Supervising Sound Editor
    Lee Gilmore
    Lee Gilmore Sound Designer/Supervising Sound Editor

    Set in a timeline between the first two Alien films, Romulus reignites the classic series that has come to define the science fiction-horror genre. Space travel, mysterious cocoons, shock-thrills, scary silence, lots of weaponry, and a sound approach that integrates the mechanical and the futuristic--it's all there, accompanied by a Benjamin Wallfisch score that both pays homage and reimagines the original.

  13. Sound for NOSFERATU - Presented by Focus Features

    Robin Carolan
    Robin Carolan Composer
    Damian Volpe
    Damian Volpe Supervising Sound Editor (Effects)/Supervising Sound Designer/Re-Recording Mixer
    Steve Little
    Steve Little Supervising Sound Editor (Dialog)
    Michael Fentum
    Michael Fentum Sound Designer

    Director Robert Eggers takes us back to Transylvania and the classic vampire story in this remake of the groundbreaking and highly influential 1922 German film of the same name, with all of its Gothic undertones, stone castles, period sounds, and, always, tension lurking in the shadows.

  14. Sound for THE WILD ROBOT - Presented by Universal Pictures

    Randy Thom
    Randy Thom Supervising Sound Designer
    Brian Chumney
    Brian Chumney Supervising Sound Editor
    Leff Lefferts
    Leff Lefferts Supervising Sound Editor/Re-Recording Mixer
    Gary A. Rizzo
    Gary A. Rizzo CAS, Re-Recording Mixer
    Kris Bowers
    Kris Bowers Composer

    Animated films offer a blank palette to a sound editorial and mix team, a true sonic playpen. So when the servant-robot Roz is thrown off course during delivery and crash lands on a remote, uninhabited island, and is then accidentally activated, the sound team is able to create an all-new mechanical-natural-futuretech world for the ears.