Film

Employment

Resonance (2018)

Audio Engineer and Production Mixer (Spring 2018)

  • Resonance is a 2018 short film directed by Foustene Fortenbach. The film is about a 25 year old cellist, named Ira, that struggles with a diagnosis of early onset rheumatoid arthritis as he tries to keep his ailment secret from the quartet that he is part of. I joined on to the project during its last few months in order to finish up the project.

  • As this film is centered around a rather real and dark story line, I tried my best to convey that through the sound design of the film. I also focused a large portion of the sound design around ambience, as the environment that surrounded the characters needed to feel overwhelming and chaotic at times.

    In addition to the sound design, I had to juggle various choices and issues while mixing due to subject matter and filming environments. Because of music being so important to the film, I worked hard to make sure that the mix was audible and interesting while not stomping on the music of the quartet. And since so many shots were filmed in exterior locations, or very reverberant locations, I also ended up cleaning the dialogue a decent amount.

Emerson Productions

Audio Engineer and Production Mixer (2016-2017)

  • I worked as an Audio Engineer for Emerson Productions from fall of 2016 to the winter of 2017. During that time I worked on multiple commercial and documentary shoots, assisting with any audio related issues that came up.

  • In this role, it was my job to make sure that all of the audio needs for each film shoot was taken care of. This meant that I was responsible for preparing the equipment, mic’ing the talent, and recording clear and audible dialogue so the re-recording mixer had good files to work with.

Zephyr (2016)

Audio Engineer and a Mixer (Summer 2016)

  • Zephyr is a 2016 feature length film directed by Liam O'Connor-Genereaux. I worked on this film as a sound designer and sound editor the same year that it was released.

  • For this film, I was in charge of designing all of the sound effects, as well as syncing them and doing a rough mix. Since this film was based in reality, most of the design that I did was enhancing various Foley elements, as well as emphasizing the ambiences in the film.

Samples

Each of these projects had unique requirements, and I tried to not influenced by the existing content too much so I could try and develop my own style for each clip.

These sessions were done in Pro Tools, so let me know if you would like to see any of the sessions .

HISS and a ROAR Challenge

Sound Design and Mix

This was my submission to HISS and a ROAR during their first sound design challenge, which was chosen as a winning submission in the competition. The competition required me to design the soundscape of two shots of waves on a beach, purely with a small selection of noise samples provided by HISS and a ROAR.

If you would like to read the article and listen to the other winners, check out this link!

Throw Me To The Dog (2015)

Music Editing

Being one of the most serious films that I have temped, the scoring I used is rather dark, heavy and minimal. With most of the songs being purely piano based, and the few others only having a couple other instruments, I believed that this style conveyed the main character's emotions perfectly while still lending a helping hand to the feel of the entire film. The songs used in this came from Game of Thrones, The Shawshank Redemption, The Tree of Life, Niklas Paschburg's album Oceanic, and Penguin Cafe's album The Imperfect Sea.

WALL-E (2008)

Sound Design and Mix

This project consisted of doing a complete audio overhaul of the La Vie En Rose scene in the movie WALL-E. For this project, I re-designed the entire sonic landscape of this scene to fit my own style, including all of the ambiences, Foley, vocal utterances, and everything else that this scene required. The original session was also mixed in 5.1 surround sound, but this file was bounced as a stereo version.

The Grand Budapest Hotel (2014)

Music Editing

For this edit, I made use the score to Ratatouille, which I believed shared the same style as Wes Anderson's directing style. Composed by Michael Giacchino, the song "Heist to Meet You" seemed to fit the film just right with some additional editing, leading me to allow plenty of room for dialogue with the use of button endings.