The hiss feels like a ghost in the room, a little static that keeps the past alive. Mixing it with a crisp modern line is like seasoning—if you overdo it, you drown the dialogue; if you underdo it, you lose the magic. I’d cue the hiss just when the character's thoughts slip into memory, then cut it out as the present hits. It keeps the buffer from breaking because the audience gets a heartbeat, not a glitch. If you’re doing it, bring the script to life with color‑coded notes and remember: the microphone is the old friend that whispers what the new camera never could.