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Short · 2021

Cut It Out

A bomb-disposal mission becomes an exercise in tension, spatial sound and student collaboration.

My contribution

Dolby Atmos · Re-recording Mixer · Teacher

Cut It Out poster

Directed by Inez Kristina Baldacchino

Project details

Year

2021

Director

Inez Kristina Baldacchino

Release Date

February 16, 2021

Production

The Animation Workshop

Selected sound credits

Re-recording Mixer

Thomas Perez-Pape

Sound Design

Sound students from Sonic College

About the project

Cut It Out is a 3D animated psychological drama that traces the tension-filled journey of Tara, a young and promising bomb defuser, as she receives guidance to dismantle a mysterious device planted in a school. What begins as a mission unravels into a surrealistic psychological trap she must escape.

My contribution

I contributed to this film in multiple capacities: as a teacher, supervisor, and mentor in the audio post-production phase.

Dolby Atmos Final Mix & Re-recording Supervision

  • I oversaw the re-recording sessions and the final mix of Cut It Out in Dolby Atmos. This included ensuring the dialogue, effects, music, and spatial sound elements were coherently integrated into the immersive mix.

  • In that role, I acted as a bridge between the director’s vision and the practical demands of mixing in Atmos: advising on panning, height layer placement, ambient bed structure, object movement, and downmix compatibility.

  • I also coached the mixing team to balance fidelity and immersion—ensuring the film works both in full Atmos playback and in conventional stereo / 5.1 downmixes.

Student Guidance & Supervision

  • As part of the collaboration with Sonic College, I supervised the sound students while they developed the sound design for the film.

  • Through hands-on feedback and structured reviews, I helped them refine their layering, automation, spatial logic, and mix decisions—all within the constraints of working toward a theatrical-level immersive film.

  • My teaching role was partly about developing not just their technical skill but their aesthetic instincts: how to decide where in the 3D space a sound “belongs,” or when to pull it back for narrative clarity.

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