Today’s issue of #100DaysofWomeninFilm focuses on the career of production sound mixer Camila Franco Ribeiro Gomide.
28/100: Sound mixer Camila Franco Ribeiro Gomide
1. Can you introduce yourself and tell us about your recent projects/work?
My name is Camila Franco Ribeiro Gomide and I work as a production sound mixer out of Baltimore, MD, USA.
I was born and raised in this beautiful small town in Northeast Brazil named Ilhéus, Bahia state. If you like world literature, you probably have heard of it in the books of Jorge Amado.
The project I am most proud of is my first one – after a producer gives you a chance it becomes a matter of time for your name to start making into circles you weren’t even aware of.
Everything after the first one is a product of someone giving you a chance, and in my case, it was a 15-minute short film directed by Imani Leigh called We Be The Same.
2. What inspired you to work in sound?
It all started with my first [and only] band, Efeito Vinil. When we got together I was entering high school, and I had been playing guitar for a couple of years, but it was the first time that I started thinking about recording and sound in a space, perspective, acoustics and so on.
In college, I started recording podcasts and shortly after I started sound editing for lower budget projects; it didn’t take long for me to land in production sound after that, especially because I kept running into the million dollar question “how can we fix it?”
3. What advice would you give to your younger self?
I would say “be patient.”
I grew up playing soccer in a small town in Brazil where soccer is a male dominated sport, so while I am used to being the only woman in the room, sometimes it did get hard.
I would tell my younger self that there are other women already doing what I am trying to do, and that it will be only a matter of time for me to cross paths with them.
4. Who is the woman in film who inspires you the most? Why?
I have this little notepad where I write down the name of every single woman in sound that comes up from the films I watch.
Whenever my wife and I go to the movies she already knows I will make us stay to watch the end credits (it is never a big argument, because she is in film as well and likes to watch them, too) – I look for sound mixers, boom ops, dialogue editors, re-recording mixers, foley artists, everyone that is responsible for the soundscape of a project.
The first woman I ever came across [in credits] in sound for film was Karol Urban, CAS, MPSE and the list just grew from there.
Every woman in sound inspires me, not just in film, but the FOH engineers, the ones in broadcasting, because there are so few of us around – so knowing each other and becoming familiar with each others’ work is important to me. That being said, I will get in line to watch anything Ava DuVernay directs.
5. What are your favorite films by women directors that you have watched recently?
There are so many! So many different genres and so many I love for different reasons… But here are some features, not in any particular order: Booksmart by Olivia Wilde; The Farewell by Lulu Wang; Little Women by Greta Gerwig; The Nightingale by Jennifer Kent; The Rider by Chloe Zhao; Shiva Baby by Emma Seligman, Really Love by Angel Kristi Williams… And if you let me, I’ll continue forever, especially if I add shorts to the list.
6. What can we do to watch / support your work?
It depends on the type of work! There are a couple of things I have worked on that are on Netflix and BET, some have broadcasted locally and nationally, some went straight to social media, while others don’t even get back to me. But I have a website, www.camilagomide.com, and I am also part of a collective of female filmmakers called Boob Sweat. You might be able to see some older work there, but if you have a project in the making and just want to connect, you can find me on social media – I love meeting new people. It is very easy to find me because I have a long last name and I use all of them.
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So far #100DaysofWomeninFilm has featured:
- 1/100: film director Elvira Notari (Italy’s first female director)
- 2/100: American cinematographer Kira Kelly (13th, Queen Sugar, Self Made)
- 3/100: film editor Margaret Booth (the first person in the history of cinema to be named “film editor”)
- 4/100: filmmaker Madeline Anderson (the first African American female documentarian)
- 5/100: film critic Iris Brey (author of the book The Female Gaze)
- 6/100: trailblazing director Ida Lupino (the first American female filmmaker to direct a film noir)
- 7/100: film director Karyn Kusama (Girlfight, The Invitation, Destroyer)
- 8/100: documentary filmmaker Veena Rao
- 9/100: cinematographer Sarah Thomas Moffat
- 10/100: film director, writer & producer Leila Djansi
- 11/100: production designer Monique Dias
- 12/100: sound designer Cindy Takehara
- 13/100: colorist Anastasia Shepherd
- 14/100: director Jen McGowan
- 15/100: experimental filmmaker Maya Deren
- 16/100: producer / director DeMane Davis
- 17/100: Italian cinematographer Valentina Caniglia
- 18/100: film director Mira Nair
- 19/100: director Aya Tanimura
- 20/100: filmmaker Lynne Ramsay (We Need to Talk About Kevin, You Were Never Really Here)
- 21/100: film director Lynn Shelton (Humpday, Your Sister’s Sister)
- 22/100: director & cinematographer Nadia Hallgren (Becoming, She’s the Ticket)
- 23/100: re-recording mixer Sherry Klein (New Amsterdam, Queen of the South)
- 24/100: cinematographer Daphne Wu
- 25/100: cinematographer Cybel Martin
- 26/100: filmmaker Tina Mabry
- 27/100: composer Zinovia Arvanitidi