The same sound mixing technique is repeated when Maya asks Kate Bishop why she put on the suit and is unable to lip-read her at all while she talks. When Maya interrogates Clint about Ronin, and the camera looks at Clint from her perspective, the dialogue audio cuts out, and she is unable to read his lips she looks towards her interpreter Kazi, who signs “Black Widow” before the audio returns to the scene. Since we can’t hear what the teacher is saying, subtitles are placed on the bottom of the screen - but when the teacher turns her head or doesn’t enunciate properly, the subtitles merely appear as “.”, exactly as the teacher’s words would appear to Maya.
She watches her teacher speaking but struggles to lip-read. Non-diegetic music plays but the voices of the students in the class quickly fade. Young Maya Lopez is introduced to viewers in a soundless school environment. RELATED: Hawkeye: Which Trick Arrows Are From the Comics (And Which Did the Show Invent?) Creating the Deaf and Hard of Hearing Experiences This postproduction technique helps heighten the emotional tension or drama in a scene by playing with volume, which is what Hawkeye sound mixer Michael P. Layering the sounds collected by the sound editor to create a seamless listening experience for the audience, and giving them the right amount of reverb, volume, and/or audial distance falls under this category. Sound mixing, on the other hand, is done entirely in postproduction. In the New York Times, Walter Murch of the Academy of Motion Picture Arts and Sciences says that the work of a sound editor is to fill in the audio around the dialogue by collecting the right ambient noises and musical effects. Sound editing encompasses the work done to find complementary sounds for a film. Folks who watch the Oscars might have noticed two categories come up - though more recently, the two categories have merged, for better or worse - during the course of the night: sound editing and sound mixing.