Acclaimed sound artists, Volpe and Fernandez have teamed up on numerous projects including the films A Beautiful Day in the Neighborhood, The Lighthouse and the upcoming Marry Me. In 2015, they shared an Emmy Award for Outstanding Sound Mixing for their work on HBO’s Bessie. In a fascinating Post Break session, they will talk about their collaborative process and the challenges of their recent Dolby Atmos mix for the Netflix Original Movie Mudbound. They will also reflect on their experience in working through the pandemic lockdown and its impact on sound workflows going forward. Picture Editor Gershon Hinkson (Chaos Walking, Vietnam in HD) will moderate.

Panelists:

Rob Fernandez /Re-recording Mixer

Rob Fernandez is an Emmy-award winning Re-Recording mixer with over three decades of experience. Throughout his career, he’s collaborated with celebrated directors including Rob Marshall, Julie Taymor, Robert Eggers, and Lee Daniels and has mixed over 100 films including Frida, Nine, Drive and The Adjustment Bureau. After becoming a founding member of HARBOR’s sound division in 2013, Rob has continued to mix at the highest level and has worked on feature films and television series including Disney’s Hamilton, Netflix’s Mudbound, HBO’s Warrior, and more.

Damian Volpe / Sound Designer, Sound Supervisor, Re-recording Mixer

Damian Volpe is an Emmy Award-winning Sound Designer, Supervisor, and Re-Recording Mixer. With over two decades of experience, Damian has worked across genres from film & episodic, documentary, to experiential. Throughout the years, he has collaborated with some of the industry’s most highly acclaimed filmmakers and creatives including Ira Sachs, Debra Granik, Robert Eggers, Marielle Heller, Ted Melf, Mira Nair, Dee Rees, Peter Hedges, Jim Jarmusch, and Matthew Barney.

Damian is a founding member of Harbor’s sound division where he’s continued to work on distinguished films including Robert Eggers’ The Lighthouse, Marielle Heller’s Can You Ever Forgive Me?, Debra Granik’s Leave No Trace, and Winter’s Bone, Nicolas Winding Refn’s Drive, Ted Melf’s St. Vincent, Dee Rees’ Mudbound and Bessie, JC Chandor’s Margin Call, and documentaries Jason Bernstein’s Everything is Copy, and Joe Angio’s Revenge of the Mekons. He has also created monumental art pieces including Drawing Restraint 9, States of Unbelonging, and Last Address. His work can also be heard at the award-winning Gear Platte River Road Archway Monument and at The George Washington Museum and Education Center in Mount Vernon.

Damian is also a working partner of ((Audience)), a non-profit group dedicated to presenting music & sound art in new contexts, specifically with the use of movie theaters as concert halls.

Moderator:

Gershon Hinkson, Picture Editor

With close to thirty years of experience in the film industry, Gershon Hinkson has worked in the Picture Editorial Department on many high profile motion pictures

He is a picture editor that has taken the traditional route; working his way up through the editorial department, learning the functions and intricacies of each position. Gershon contributes these experiences to his talents as a storyteller as well as his effectiveness as a department head and mentor.

Working across the US, Canada, London, Germany, and various locations in Eastern Europe, Gershon has developed workflow solutions unique to each project as well as their locations. Another of his key responsibilities has been to assemble editing room teams – both domestically and internationally.

With the goals of telling a great story and delivering a technically sound product, Gershon relies heavily on three attributes - efficiency, clear communication, and the ability to develop and maintain a healthy workplace culture.

Gershon has recently completed work as an additional editor for LionsGate’s production of “Chaos Walking” and is currently editing the series "SEVERANCE" for Apple+. When not editing, Gershon works through his production company, Igneous Features, to create socially responsible projects and content while conducting technical and workflow experiments that he later applies to the major motion pictures he works on. In 2009 he created a short film festival in Easton, Pennsylvania called Movies At The Mill Easton (moviesatthemill.com) to help spread the love of filmmaking throughout the Lehigh Valley while helping the city of Easton boost its local economy. The festival is still going strong. Gershon's short film, The Turtle & The Nightingale(2011), allowed him to conduct a DI experiment where he combined non-timecoded sources with timecoded sources in the same avid sequence. Able to maintain a relationship between his avid project and the film’s master footage, the “conform” was executed without complication and the experiment was a success. Gershon later applied his findings to the Magnolia Pictures documentary "No Place On Earth" - which was mixed, colored and conformed at Harbor Picture Company. His short film (The Turtle & The Nightingale) was accepted into the American Black Film Festival and was later aired on HBO. IMDB

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