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If there is a Sound Mixing/Editing split, who wins what?

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    Nikhil
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    #1203318702

    The Sound categories are probably not splitting and most are predicting 1917 for both. However, if they were to go to two different films which film would get what and why?

    We are all (I think) in agreement that 1917 and Ford v. Ferrari seem like the two frontrunners in this category. Are Ford v. Ferrari’s chances of upsetting greater in Mixing or Editing?

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    jsn
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    #1203318932

    Ford v Ferrari would win Sound Mixing, 1917 Sound Editing.

    Mixing is more associated with Film Editing for some reason, and Ford v Ferrari could win that too while 1917 isn’t even nominated.

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    JackO
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    #1203319001

    The last weird split was when Hacksaw won sound mixing and Arrival won sound editing. That doesnt help at all but I think 1917 would win mixing in this case. But Dunkirk won both and that is much stronger precedent for 1917 to sweep.

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    Eddy Q
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    The Arrival/Hacksaw split was a unique case of two roughly equally positioned Best Picture nominees (Arrival possibly being at a slight advantage) each being a clear showcase for one of the two disciplines: Arrival with its distinctive sound design and effects of the alien communication, and Hacksaw Ridge with its orchestration and balancing of the various sounds of gunfire and explosives. Each was nominated for the other award, but it was obvious to anyone with passing knowledge of the difference between the two categories which way to vote.

    While 1917 and Ford v Ferrari are also both Best Picture nominees, the former is the consensus leader-of-the-pack while the latter might well be the first film eliminated in the preferential balloting. As both fit equally well into the typical mold for either category, 1917 is best positioned to take both awards simply by being the frontrunner overall.

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    Filmatelist
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    #1203320613

    The vast majority of times, the reason for a split is because the winner of Sound Mixing was not nominated for Sound Editing, making a split inevitable.

    WHIPLASH, LES MISERABLES, DREAMGIRLS, RAY, CHICAGO are all examples of this. You’ll note that they also have something specific in common.

    The only 2 times in the last 50 years when the Sound Mixing winner actually **LOST** Sound Editing were:

    SLUMDOG MILLIONAIRE lost to THE DARK KNIGHT
    HACKSAW RIDGE lost to ARRIVAL

    In both cases, films which won both Sound Mixing and Film Editing and which had more naturalistic storylines lost Sound Editing to more fantastic, genre-driven films. It’s hard to imagine JOKER or SKYWALKER (the closest examples of that) beating 1917 or FvF so a split is very unlikely (and I’m guessing the Mendes will win both).

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    Sean Phillips
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    #1203320651

    I keep hearing there’s talk of merging the two because no one understands the difference. Is that idle chatter or is there anything to that?

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    Riley Chow
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    Mr. Tintin
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    #1203321104

    I keep hearing there’s talk of merging the two because no one understands the difference. Is that idle chatter or is there anything to that?

    I hope it’s just rumors. They’re different-one is about how individual sounds fit the narrative and enhance the experience, while the other is combining them.

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    John Berchmans
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    I hope it’s just rumors. They’re different-one is about how individual sounds fit the narrative and enhance the experience, while the other is combining them.

    I think they should exist separately if the Academy is actually going to distinguish between the, but so often they just give a popular film both awards without really thinking twice about whether or not it deserves both of them. In a fair world Ford v Ferrari would win Best Sound Mixing, but 1917 will likely win both.

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    Emil Petrov
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    #1203321221

    In case of split – 1917 takes Mixing, and FvF takes Editing.

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