Sound Designer Dubbing Mixer

This was at the picture lock stage and the global film festivals submission deadlines were looming. I was asked to work on Dialogue, sound design and the dubbing mix. I was recommended by the re-recording mixer.
This project was fully remote with the director and re-recording mixer based in Canada. The film itself was Sci-fi and filmed with the “Red-Dwarf” analogue/low budget look in mind but to not be a cheap production. So the sound and music were important and had to have style, immersion and not be too glossy.
I worked closely with the director/producer and the re-recording mixer, almost daily sending examples of sound design and at the midway point the director asked me to listen to some composers and advised him on the ones that I thought would fit the soundscape and theme needed.
I worked with the composer from Miami closely once he started sending me examples for scenes. We built the world the director wanted and it sounded fantastic.

Sound Designer and Sound Effects Editor

This film was at the picture lock stage, foreign language and remote and with a very short completion date. I think I had three weeks to help get this over the line as the film was being entered into the Berlin International Film Festival and could not miss the submission date.
I was recommended by the supervising sound editor because I work well under pressure and maintain quality.

This film had many challenges, mainly due to the way it was (deliberately) filmed on location in Rwanda. The guerilla style filming meant that the location sounds were challenging to use and 90% of the foley had to be replaced and tracklayed. We worked well and got the film sounding as close to the realism, no Hollywood gloss, just as the director wanted.

Sound Designer and Dubbing Mixer

This was at picture lock, the composer had written a score, and I was asked to do the sound design and final mix for cinema and Prime.
The success of the short film relied on the score and sound design to work seamlessly together with the monochromatic tones that it was beautifully shot in.
As I was mainly focused on the sound design, I was able to push the limits with creativity, especially in dream state/mind torment scenes that portrayed the main characters mental state. I had constant communication with the directors and writers as I knew the sound had to be done right as there was only one line of dialogue. The composer had done his job very well and it was up to me to continue to lift this beautifully shot film.

Supervising sound editor, sound designer, re-recording mixer

French language film. This was not at the picture lock stage, and the director was based in Paris and I was recommended to her by the other supervising sound editor.

The sound design and mixing were integral to this film as many scenes were shot in beautiful homes or costal locations. I worked closely with the director so as I wouldn’t accidentally steer the narrative away from her vision. The dialogue editor also did the mix with me which meant that between us we could balance all the elements prior to the final dubbing stage.
I got the foley team in to manage the additional foley and tracklay. I could then focus on recording location sounds, cleaning them up ready for the mix.
The director sat in on many spotting sessions and revisions making this production process dynamic and nothing was lost with direction and vision.

Sound Designer, Dubbing Mixer and Supervising Sound Editor

This project was fully remote as clients were in the U.S. and Scotland. Filming was complete and I was asked to take on the audio postproduction stage just prior to the picture lock point.
I put a team together that consisted of a dialogue editor, re-recording mixer, foley recordist, foley tracklay editor and myself as the sound designer and dubbing mixer.

The film was a rom-com with many comedy elements that needed emphasis and locations that needed specific audio precision and realism. Dialogue was priority and had to be perfect, so a lot of time was dedicated to this. The foley needed to be perfect and was a huge challenge as the production sounds were not good enough to be used. The ambiences, environments and sound design would be woven through the many music compositions seamlessly.