Programs: Protools, Abelton Live, Audacity, Adobe Premiere,
Plugins: isotope, RX, Cymatics
Hardware: Audiotechnica, Scarlet Solo, Alesis Midi, MAC & PC accessible,
Studio knowledge: 7.1, 5.1 Surround Sound (Dolby Standard), ADR Engineering, Mid Side Mid Recoring for ambience and quaretets, Mixing interaces (Midis, Heath Allen, AVID, etc.), Foley artistry and Recording,
Live Sound: Mix Pre, 664, Midis, LAV Micing, Booming, Instrumnent Micing, Theatrical mixing
Blood & Books Opening Scene This scene is built to 7.1 surround sound and the orignal scene I had shot entirely MOS and have built this sound scape of this scene from the gorund up. The one of the major focuses of this scene being the dialgogue is all in ASL. The Villian of this scene is a peer of mine who is a Deaf film maker who helped me translate the scene to a natural dialogue and retain a natural and threatening feeling. This language quirk also helps establish the ongoing relationship between these two characters that I am quite happy about. The Actress also learned a bunch of ASL through her personal life and the Large deaf population in Rochester NY allows for much exposure to this. Now that the background is covered. The sound design for this scene is interesting to me for the Foley that I had dveloped with a hyper focus on the sounds of their movements that you might not notice in a normal dialogue scene and making the sound scape help you feel instead of hear. A large focus on the brush sounds of their hands, footsteps clothing, the dampness of the environmet, and time of day.
Does this Satisfy you Compostion This being my sophmore film, mixed to 5.1 , where it lacks in the visual side, I think the sound scape that I continued to work on after the due date of the film I think holds up. With this film I had a composer form the eastmen school of music, and a quartet of string musician from the same Alma Mater. My sound professor and I used this session as a practicea dn trouble shooting scenerio for a capstone that would be shot the following year that recorded a whole big band. We recoreded this compsotion with a basic setup that caters itself to surround sound, Mid/Side/Side. We were running signal from the sound mixing suite to the sound stage of where we were recording. With clear communication between the Engineer, my professor, The composer, and I the director to be able to get a clean and very full recoridng of the compositon piece.
The Detour Animation This is an animation capstone, mixed 7.1, that I am sound designing for, working with a composer and scratch no dialogue sound design for a full animated short. I have less experience mixing for animation but here I Am learning how to stretch sounds and be able to move into a rather creative space with it.
There area few things with this film that I found specifcally successful and really challenged myself, the main scene of this film that was a major challenge was getting the sound a car from the outside in perpetual motion without the sound of other cars. now I couldnt really take the risk of holding a microphone out of the window so instead I layered the sounds my own car reving at something that is similar to actual driving, along with some light road noise, and more wind. And then transitioning that to the interiror of the car that sound believable was suprisingly easier then I intitally would have expected.
Break in the Clouds: My capstone For this film I am doing this to complete my bachelors degree, mixed 7.1. I am working with a composer from Japan, An craft editor, and craft colorist in post prodcution to deliver the most professional looking piece yet. as for this film, I would say a lot of working is sitll to be done on it, but as for a simpler mix it has grown on me, the use of the music breathing a specific life into this piece really drives home the vibes of the film.
Don't think just dance: Documetary, mixed stereo, This is a dance documenatry that I also DP'd for. This in turn was a lighter loud simple stereo mix. with the flucation between musical dance pieces and back towards casual interviews. The biggest thing for this film was making sure each segment flowed together in the most satsifying way.
Location Sound Mix I wouldnt consider myself a location sound Mixer but I have had plenty of experience dealing with recording dialogue and ambiences on set, Laving actors as both a sound mixer and costume designer. Majority of my experience is using Mix Pre 6 & 10, I also have experience using Zoom recoreders and the 664 but much less.
Narration & ADR Recroding I have been developing quite a few films also requiring narration and ADR and other diagetic dialogue be radio or phone. This is includes personal projects that I have done using my own simple mic setup that I have had for quite along time for at this point, since highschool.