Great sound starts at the source, and no amount of post-production magic/money can make up for poor location recording. Capturing clean, full audio always comes with obstacles, but overcoming these challenges in collaboration with other departments is what drives me. Whether it's a lav hidden in the hair of a shirtless actor, or installing temporary seals around an ill-fitted window to reduce wind noise, getting great audio in tough conditions saves money in post and ensures your story is told the way it was meant to be.
The fixes that can be done in post are truly amazing, but just as amazing are the ways that good sound design and mixing can bring a project to life. What once felt flat and dull becomes immersive, breathing, and new. I love the technical challenge of fixing problems, and the creative challenge of elevating a story with sound.
An original score sets a project apart. Too often projects get confined to the rigid structure of a stock score when music should move organically, supporting the story wherever it goes. I love making music, and using music to help tell a story is even better.
Sound Devices 744T
Sound Devices 442
Sound Devices 302
Sound Devices MM-1
Lectrosonics UM400a Transmitter
Lectrosonics SM Transmitter
Lectrosonics 411a Receivers (x2)
Sennheiser EW 100 (lots of them)
Sennheiser HD 25-1 II
Sennheiser HD 380
Sennheiser HD 280
JVC Flats (lightweight options for director/scripty monitoring)
Sennheiser MKH 416
Neumann KM 184 (pair)
Sanken COS-11D (x3)
Countryman B6 (x3)
Denecke TS-C Smart Slate
K-Tek and Gitzo Boompoles
Rycote and K-Tek Shockmounts
Rycote Wind and Rain Suppression
Betso SBOX-1 Timecode generator (prefer over Ambient Lockit)
Remote Audio NP-1 system
Clips/straps for lav mounting
Custom built vertical sound cart
Let's work together.
You'll enjoy every step of the production process.