The sound department in filmmaking has been historically dominated by men, slowly there has been the presence of female professionals, however parity is still very far from being achieved. In this debate we will analyse the current reality, and foresee what can be done for the gender gap to shorten in the future generation.

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Salomé Limón is a producer, songwriter, sound engineering and sound designer since 2004 based in Madrid. Winner of 5 Latin Grammy and Grammy nominee. She is the President and Founder of PIAudio (Iberoamerican Women Producers and Engineerings Association). Salomé participated as lecturer and professor in student talks and masterclasses at Berklee College of Music, IE University, CES, iRTVE, University of Lethbridge, Soundgirls, etc. Her first project was Andrés Calamaro’s album “El Cantante”. And then came artists as amazing as Paco de Lucía, Anoushka Shankar, Mariza, Chick Corea, Bebo Valdés, Michel Camilo, etc. Worked with musicians like Editors, John Legend, Young Dreams, Michel Camilo, Chick Corea, Seal, Anoushka Shankar, Wynton Marsalis, Abraham Laboriel, Avishai Cohen, Mariza, Carlinhos Brown, Carminho, Paquito de Rivera, Astrid Asher and so many others.  

Nina Hartstone is an Oscar-winning Supervising Sound Editor working in feature films, specialising in Dialog and ADR.

She has worked in the industry for 25 years. Her credits include “Evita” (1996), ‘“The Hours” (2002) and “Gravity” (2013). This past year, she was Supervising Dialog/ADR Editor on “Bohemian Rhapsody” (2018) and has won both a Bafta award and an Oscar for her work on the film. She lives in Windsor, U.K. with her husband, three children and two cats.

Patrushkha Mierzwa is one of the first women boom operators in Hollywood. She has worked on 80 movies and television shows for major directors including Robert Altman, Robert Rodriquez, Roger Corman, James Gray and Quentin Tarantino. She has also been a judge for the Emmys and was a Director on the Board of the sound union - IATSE Local 695.

Ms. Mierzwa has spoken on multiple panels and given workshops at film schools in Los Angeles, China, Ireland, Oslo, Maine, England, Bath, and New York City on the duties and responsibilities of a qualified Boom Operator and Utility Sound Technician. She has lectured on the performance work skills necessary to succeed under a fast production schedule with A-list talent. Her last 2 credits, AD ASTRA and ONCE UPON A TIME IN HOLLYWOOD, were both Oscar-nominated for sound mixing.

Ms. Mierzwa is actively building a global sound community and during this quarantine period writing books on both Utility/ A2 work and Boom Operating/A1.

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