Audio & Foley Design / Mixing & Mastering / Film Scoring / Recording
Audio & Foley Design / Mixing & Mastering / Film Scoring / Recording
2023
Post-production for the ‘The Sink’, short film by Eduardo Mattos.
Working with Izotope RX7 Advanced I treated the dialogue stems and synced the various mic recordings, then I made sure that each scene has good transitions and matching EQ. I designed the ambience, foley and the supernatural voice of a dead writer coming through a sink.
Finally I mixed and mastered for Stereo and 5.1
2022
All-around audio for ‘Hangover’, short film by Oleg Khristolyubskiy
Two colleagues and me were responsible for the entire sound department– recording on set, editing audio, foley and sound design, mixing in stereo, binaural and dolby Atmos and finally mastering.
Starting from recording on set, my personal tasks, were to provide the equipment we needed and overtake as boom operator also taking calls regarding hidden mics around the room. Later I edited the voiceover takes, I did audiodesign for the film ambience, foley and sound effects and finally mixing and mastering at the SoPa AVM studio.. The biggest part of postproduction was shared between the three me and my colleagues.
2023
Post-production for the ‘The Sink’, short film by Eduardo Mattos.
Working with Izotope RX7 Advanced I treated the dialogue stems and synced the various mic recordings, then I made sure that each scene has good transitions and matching EQ. I designed the ambience, foley and the supernatural voice of a dead writer coming through a sink.
Finally I mixed and mastered for Stereo and 5.1
2022
All-around audio for ‘Hangover’, short film by Oleg Khristolyubskiy
Two colleagues and me were responsible for the entire sound department– recording on set, editing audio, foley and sound design, mixing in stereo, binaural and dolby Atmos and finally mastering.
Starting from recording on set, my personal tasks, were to provide the equipment we needed and overtake as boom operator also taking calls regarding hidden mics around the room. Later I edited the voiceover takes, I did audiodesign for the film ambience, foley and sound effects and finally mixing and mastering at the SoPa AVM studio.. The biggest part of postproduction was shared between the three me and my colleagues.
As part of my studies I designed audio and composed for two short films. Yamada form ‘Die drei ???’ and Opus II from Walter Ruttmann .
For Yamada the aim was to design as many sounds as possible from ‘scratch’ with various synthesis techniques, dramaturgy, composition and atmosphere. For the sound design I used additive, subtractive and granular synthesis techniques.
For Opus II the aim was to create an experimental composition following the rhythms of the shapes and connect the different colors to different scales. For this one I chose to compose a non-structured piece following strictly the movements of the shapes and sonify them. Most sounds have been made with Arturia synth plugins.
As part of my studies I designed audio and composed for two short films. Yamada form ‘Die drei ???’ and Opus II from Walter Ruttmann .
For Yamada the aim was to design as many sounds as possible from ‘scratch’ with various synthesis techniques, dramaturgy, composition and atmosphere. For the sound design I used additive, subtractive and granular synthesis techniques.
For Opus II the aim was to create an experimental composition following the rhythms of the shapes and connect the different colors to different scales. For this one I chose to compose a non-structured piece following strictly the movements of the shapes and sonify them. Most sounds have been made with Arturia synth plugins.