APR 2012 // For this episode, we followed joined Biz Markie as he shopped for a new home. As a typical reality shoot I managed multiple wireless, boom coverage, and hops to multiple cameras.
MAR 2012 //
MAR 2012 // Designed by Binary Creative, this handy home inventory iPhone app allows you to keep track of your valuables with ease. I designed some simple sounds that work with the screen functions, buttons, and movements. Check out Stockpile.
JAN 2012 //
NOV 2011 // As the only sound mixer for this shoot, I maintained multiple wireless lavaliers, boom coverage, and mix to camera to obtain interviews and B-roll for this Seasame Street Event.
NOV 2011 // For this product advertisement I recorded dialogue for various set-ups on location.
OCT 2011 // For this commercial is assisted mixer Andrew Uvarov.
OCT 2011 // For this reality pilot we captured unscripted material at the home office of Sister 2 Sister Magazine. Typical doc set-up, maintaining boom coverage, multiple wireless lavs, second system recording, and audio feeds for producers.
SEP 2011 // In-store advertisement.
SEP 2011 // I recorded dialogue for this series of videos. Here’s 2 of my favorites.
SEP 2011 // Working in the studio, I recorded dialogue for this series of television commercials.
AUG 2011 // For this product advertisement I recorded dialogue on location as a solo sound team.
AUG 2011 // Working with mixer Andrew Uvarov, we recorded dialogue at multiple locations for this regional television advertisement.
AUG 2011 // Working under Dog House Productions, we shot 26 episodes in San Diego & Orlando. Being only a two man sound team we kept busy, as we had multiple talent on wireless lavaliers, a variety of environments to work in, and sent audio mixes to multiple cameras covering unscripted material.
JUL 2011 // During Comic Con we covered the cast of Twilight as they met with fans, walked the red carpet, and spoke to thousands in a panel discussion.
JUL 2011 // For supplemental material on the People Vs. George Lucas DVD, we conducted interviews of Star Wars fans on Comic Con’s convention floor.
JUN 2011 // This feature was shot on the Red One over the course of twenty days with various locations and talent. Project is currently in post-production.
APR 2011 // As Coheed & Cambria prepared for their summer tour, we spent time documenting the process of fine tuning the sound for the road with Taylor’s Rob Magargal. Working closely with Photographer John Trice I recorded audio in Kansas City and put together this audio mix.
MAY 2011 // Having to record a voice over on location can be very challenging, and creating an environment that’s conducive to capturing quality audio while making the talent as comfortable as possible to work in is key for success.
MAY 2011 // For this web video I collaborated with John Trice Productions, recorded the audio on location and edited/mixed the final piece.
APR 2011 // I joined the production crew of Lifetime’s hit series for their San Diego shoots. Working in the field at a fast pace, I typically managed multiple lavaliers, a boom, & audio mixes for 2 cameras covering unscripted material. Check out some episodes here.
APR 2011 // This was an impromptu video we recorded while working on interviews at Taylor. Song features Capt. Andy Hillstrand of ‘Deadliest Catch’ accompanied by Taylor’s own Andy Powers.
For these series of commercials, we shot various sports icons sharing their gratitude to the troops.
FEB 2011 // This video is part of the ‘Disclose Your Status’ campaign in San diego.
FEB 2011 // For this cooking competition we shot three teams as they had limited time to prepare authentic Korean dishes for the judges. Thanks to John Niewiadomy for booming.
FEB 2011 // Teaming up with Doghouse Productions to tackle this project paid off as we edited & mixed 6 television spots in time to air for the Super Bowl.
JAN 2011 // On this shoot I worked with director/producer Greg Smith to record audio for a few of the interviews, including the principal and children who attend the Monarch School.
JAN 2011 // This video is a preview of a roundtable discussion we did in a barber shop located in Hollywood. With a boom op assisting, I was able to mix a clean track of lavaliers to utilize for post.
JAN 2011 // This project was sit down interview, featuring CEO Paul Jacobs as he outlined his vision for 2011.
OCT 2010 // For this series of commercials I worked closely with the tight knit team at Simpler & Simpler overseeing the sound from pre-production through post.
SEP 2010
SEP 2010 // Long-form commercial.
JUL 2010 // As one of the many sound mixers on this show, I learned the true meaning of ʻrun & gunʼ as we raced around San Diego documenting multiple stories at Comic Con.
MAY 2010 // During the Oncology Convention in San Diego, I recorded audio for Blue Telescope Media documenting nurses experiences in dealing with patients pain through cancer treatment.
MAR 2010 // I had the opportunity to work with WATV for 3 days as they traveled through San Diego to film rider Jason Britton & friends as they pulled off amazing motorcycle stunts all over the city.
FEB 2010 // I worked with Unconventional Films once again to make their zombie webseries hit. On location I worked with boom op/picture editor John Niewiadomy to capture the dialogue.
JAN 2010 // Instructional DVD.
JAN 2010 // Long form television commercial featuring the Pump it Fresh tupperware vacuum containers.
JAN 2010 // This thesis project was shot on 16mm and had severe film gate noise from the production. In post I removed the gate noise and finished up the final mix.
DEC 2009 // On this short narrative we pulled off production in one day utilizing a single location and minimal crew. Shot on the 5D, all audio was successfully recorded to my second system. Thanks to John Niewiadomy for booming. Learn more about Director David Jakubovic
SEP 2009 // Winner of “Best Feature” Award at San Diego’s Indie Fest, this was an HD picture that we shot at various difficult locations throughout San Diego. All production audio was used in the final soundtrack. I worked with boom operator John Niewiadomy.
MAR 2009 // For my first web series I got the chance to work pre-production through post overseeing the audio on 8 episodes.
MAR 2009 // I recorded audio for the interview with Dr. Jane Burns in this educational video.
MAR 2009 // For this video honoring survivors of meningitis, we interviewed Paralympic Medalist Melanie Benn at her home in San Diego.
MAR 2009 // Promotional Video.
DEC 2008 // On this narrative I assisted production and post mixer Robert Mason of Dog House Productions.
NOV 2008 // I worked as a boom operator for Dog House Productions shooting in various spots throughout the USS Midway aircraft carrier.
OCT 2007 // Short Thesis Film by Iain Sclater.
SEP 2007 // Short Film.
AUG 2007 // I assisted Dano in his studio over the course of two years with tracking and mixing of his reggae/dub album featuring the steel pan.
JUN 2007 // The Picnic was the first project I did with Unconventional Films and was shot in the woods of Descanso, CA. As a one man sound team I mixed and boomed on location and saw the sound through the final mix.
SEP 2006 // My first film project was this experimental 16mm film shot MOS with all sound created in post.
Whether itʼs a narrative film, an HDTV commercial, or an interview for your website, great sound begins in pre-production. Proper planning will help you become familiar with the equipment needs, the location limitations, and how the entire crew plays a role in recording clear audio with ease. Once production begins, the eyes and ears of your sound department are the production sound mixer and the boom operator. Itʼs up to them both to record great sound and document the process. When done right, everything should flow into post-production, where the focus should be on editing and refining, not finding and fixing. Small problems and oversights early on can grow into nightmares by the end of a project, so itʼs crucial to work with someone who is focused on capturing and creating great sound every step of the way.
A knowledgable production sound mixer works with you in the planning stages, during the production, and helps the post-production sound team by providing organized files with thorough documentation. On the set a great sound mixer stays focused on their job, listening for potential issues, ready to quickly solve any problems. On small productions, this can be a one-man operation, but with larger projects the sound mixer works closely with the assistant director and his sound team. Together, they work hard to capture every word of dialogue so the story can be told.
One of the most difficult and under appreciated positions on the set, the boom operator, can make or break the production audio. In addition to the physical demands, a great boom operator needs be familiar with the script as he/she has to work with the blocking of the scene, adapt quickly to changing circumstances, and navigate the boom through boundaries set by lights and shadows.
Post-production is a big complicated process: refining dialogue, ADR, recording foley, sound design, and the final mix. A good production sound mixer will keep all this in mind in the planning stages and during the production, making sure you have the consistent, clear coverage you need as you transition into the final stage of your project.
From the simplest of interviews to more complex multi-talent, multi-camera shoots, I can tailor the equipment to your production.