In addition to my production work, I have been the sound designer, supervising sound editor and/or re-recording mixer on nearly 100 films, commercials, and web series episodes
Whether it's sound design, effects, foley, ADR, dialog editing, voice over, or mixing, with my extensive experience, creativity, and technical proficiency, I can guarantee superior sound in a shorter time for less money than anyone else in Austin.
I have a library of over 30,000 high-quality sound effects, an array of high-end Pro Tools plug-ins specifically engineered for post-production use, and over 10 years of experience using Pro Tools.
Hourly, daily, and project rates are available. Contact me and we will work out a rate that fits your budget.
Be sure to listen to the samples below on a decent set of speakers or headphones to get the full effect. Whatever you do, don't listen on your crappy built-in computer speakers!
This scene is notable in that there is not a single production sound element used in the final mix. Due to problems with the production audio*, the sound had to be created entirely from scratch in post-production. What you hear is ADR, foley, sound effects, and backgrounds that were created by me and my team nearly a year after the movie was shot.
From "Dance With The One", directed by Mike Dolan, produced by Alex Smith and The University of Texas Film Institute. Premiered in competition at SXSW 2010.
Any sound guy will tell you that quiet and restrained is much more difficult than flashy and in-your-face. Of course, flashy and in-your-face still wins the Oscar every time. This clip didn't win any Oscars, but in the interest of including something that shows off more of my creative side...
This one was also created entirely in post.
From "Lo Que Daria Por Volver", directed by Sergio Carvajal.
There's some subtle sound-design work going on in this scene in service of the emotion of the film. Here and elsewhere in the film, the director and I made the decision to enhance the sense of separation between the characters by highlighting the physical barriers between them. The most difficult part of the mix was striking the right balance between clarity in the dialog (especially challenging given the accents) and the reality of how these two characters--separated by the door and the window--would actually sound to one another.
From "Fatakra", directed by Soham Mehta. This short won a Student Oscar in 2011.
I like to use ambiences (sonic backgrounds) to serve as a sort-of secondary score to a film. In "Dance With The One"--which takes place mostly during a single Central Texas summer day--that meant painting soundscapes of birds and bugs that rose and fell with the fortunes of the characters, yet never strayed too far from the naturalism we strived to maintain in the sound design of the film.
Contrast the calm and quiet of these morning ambiences with the oppressive sense of heat and humidity suggested by the backgrounds (especially the cicadas) in the first clip above.
The dialog contains a mixture of production audio and ADR.
From "Dance With The One", directed by Mike Dolan.