I am a supervising sound editor and sound designer working from my fully equipped London studio, 20 minutes by underground from Soho.
I’m comfortable working on lower budgets and covering all aspects of post production sound myself or on larger budgets contracting and supervising other sound editors, foley studios and re-recording mixers to bring together the final soundtrack.
I understand that the process of bringing a film to life is a long one, so my goal is to create an inspiring, collaborative environment during sound post.
The reason I am passionate about sound in film is that it holds so much potential for subliminal yet powerful work that can enhance the mood and tone of the images and performances it is combined with.
The exciting part of the process is collaborating to discover what type of approach will work to bring the director’s ideas to life.
I always try to record and create a collection of custom sound effects for every project to provide each film with a unique palette of sounds, but I also have an extensive and ever growing sound library that enables me to work quickly and efficiently on any type of project.
I prefer to be brought on board as early as possible, as this allows me to become familiar with the script, meet the other crew members and plan the sound post workflow to make the most of the resources available during production and post, in order to save money and time later on in the process.
I believe that better communication and understanding between production and post departments helps to ensure that budget and resources are spent on making your film sound as fantastic as possible. Many of the issues that are encountered during sound post can be solved by better communication between the production and post production crews, but this requires us to collaborate early on.
As I work in Pro Tools HD on a calibrated 5.1 surround monitoring system I can easily integrate into workflows at bigger facilities.
This means that it is possible to work on a project in the cheaper, less time pressured environment of my studio before taking it to a large dub stage to do the final mix. It also means that I can easily incorporate work from other sound post providers like foley and ADR studios.
It also means that I can provide sound effects editing, foley editing, dialogue editing and sound design services to other sound supervisors.
To discuss a potential project or find out more about working with me, please don’t hesitate to get in touch.
When I supervise a project I can:
- offer advice about sound during pre-production
- suggest production sound crew
- provide sound effects and dialogue clean up during picture editing
- record custom sound effects
- tracklay sound effects
- create custom sound design
- edit dialogue
- restore and rescue poor or damaged production sound
- record & edit voice over & ADR
- pre-mix and final mix in formats up to 5.1 surround sound
contract and supervise additional sound editors, foley studios and re-recording mixers
I can prepare production sound ready for the final mix. Well edited dialogue, fully smoothed out and cleaned up, provides the base that all the other sound elements will sit upon.
Good dialogue editing can also help reduce the amount of ADR required by saving production sound that was thought to be unusable.
I have an extensive library of sound effects and by combining these with sounds specifically recorded for your project and using the latest digital tools I can create a rich and detailed track to complement your project and enhance its emotional impact.
I do this to create custom libraries of sounds for projects I’m working on. You can also hire me to provide sounds for your post production crew.