Script breakdown, technical and sound advice for the choice of the locations, coordination with the rest of the departments.
Interviews, short films, corporate, feature films.
Dialogues, effects, music and backgrounds editing. Podcasts editing. Stem M&E. Sound design.
Stereo and 5.1 mixing.
Audio implementation on Wwise.
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Sound is 50 percent of the movie‑going experience, and I’ve always believed audiences are moved and excited by what they hear in my movies at least as much as by what they see.
The emotional, physical and aesthetic value of a sound is linked not only to the causal explanation we attribute to it but also to its own qualities of timbre and texture, to its own personal vibration. So just as directors and cinematographers (even those who will never make abstract films) have everything to gain by refining their knowledge of visual materials and textures, we can similarly benefit from disciplined attention to the inherent qualities of sounds.
There’s no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world – they make the sound, not you. It’s very restricting to always use a library for sound effects. It’s much more interesting and freeing to go out and record new sounds because you never know what you’re going to get.
Mixing is a performance. You sit down at the console. You’re alert, and you’re playing parts in the picture: You’re a robot, you’re a door, you’re a laser gun. And you get into it.
It’s all about the emotional associations of sounds. It’s not about whether they’re really technically correct or not. It’s about whether they’re scary or relaxing or threatening or whatever helps tell the story.
Something that seems quite obvious to me today, but I was surprised at first, was the ability to change what we see simply changing what we hear. I mean, the possibility that, changing some backgrounds and effects, the space transforms so much. The visual is so conditioned by what we hear.