Sound design is the process of specifying, acquiring, manipulating or generating audio elements. It is applied in a variety of disciplines including filmmaking, television production, theatre, sound recording and reproduction, live performance, sound art, post-production, and video game software development. Sound design most commonly involves the manipulation of previously composed or recorded audio, such as sound effects and dialogue. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood.
I am a sound designer with a passion for all things related to sound design and sound art.
Over the years I have worked on various productions as a sound designer, mixer, sound supervisor, Foley artist and Dialogue, Sound effects and Ambience editor.
I am experienced in creating soundtracks for a variety of media platforms including feature films, TV series, documentaries, theater productions and advertising.
Re-recording is the process by which the audio track of a film or video production is created. As sound elements are mixed and combined together the process necessitates "re-recording" all of the audio elements, such as dialogue, music, sound effects, by the sound re-recording mixer(s) to achieve the desired end result, which is the final soundtrack that the audience hears when the finished film is played.
Automated dialogue replacement, or additional dialogue recording (ADR), is the process of re-recording dialogue by the original actor after the filming process to improve audio quality or reflect dialogue changes (also known as "looping" or a "looping session"). ADR is also used to change original lines recorded on set to clarify context, improve diction or timing, or to replace an accented vocal performance.
ADR / VOICE OVER
A production sound mixer, location sound recordist, location sound engineer or simply sound mixer is the member of a film crew or television crew responsible for recording all sound recording on set during the filmmaking or television production using professional audio equipment, for later inclusion in the finished product, or for reference to be used by the sound designer, sound effects editors, or foley artists. This requires choice and deployment of microphones, choice of recording media, and mixing of audio signals in real time.
A sound editor is a creative professional responsible for selecting and assembling sound recordings in preparation for the final sound mixing or mastering of a television program, motion picture, video game, or any production involving recorded or synthetic sound. Sound editing developed out of the need to fix the incomplete, undramatic, or technically inferior sound recordings of early talkies, and over the decades has become a respected filmmaking craft, with sound editors implementing the aesthetic goals of motion picture sound design and supporting the narrative of the film's story.
Foley is the reproduction of everyday sound effects that are added to film, video, and other media in post-production to enhance audio quality. These reproduced sounds can be anything from the swishing of clothing and footsteps to squeaky doors and breaking glass. The best foley art is so well integrated into a film that it goes unnoticed by the audience. It helps to create a sense of reality within a scene. Without these crucial background noises, movies would feel unnaturally quiet and uncomfortable.
ADR / Voice-Over