Sound professionals are seeking parity with their visual counterparts in Hollywood when it comes to screen credit. The Cinema Audio Society (CAS) has joined forces with the Motion Picture Sound Editors (MPSE) and Association of Motion Picture Sound (AMPS), to lobby Studios to give more prominent credits to those in sound craft roles.

In an open letter, it argues that the roles of production sound mixer, supervising sound editors and rerecording mixers should share a single card “and be appropriately positioned within the same proximity of the other key roles, such as director of photography, film editor, production designer, costume designer, unit production manager and 1st assistant director.”

The letter goes on to say:  “Production Sound Mixing, Sound Editing, and Re-recording Mixing all contribute to the complete sound experience and are eligible for recognition of major awards. It is remarkable that these persons who receive nominations for numerous international awards, including those from AMPAS and BAFTA, are generally not afforded prominent screen credits that are representative of their creative contribution to the film. We seek your help in correcting this imbalance.”

As an example the letter cites Quentin Tarrantino’s Once Upon a Time In Hollywood, saying that the film should acknowledge:
Production Sound Mixer Mark Ulano
Supervising Sound Editor Wylie Stateman
Re-Recording Mixers Michael Minkler, CAS; Christian P. Minkler

 Such prominence would assure that individuals who were principally responsible for the creative direction of the soundtrack would be clearly identified and acknowledged by the audience, it concludes.
The letter is signed by CAS president Karol Urban, MPSE president Mark Lanza and AMPS chair Rob Walker.