Perhaps the most important role in Post-Production Audio, Our Supervising Sound Editor oversees virtually every other member of the sound team on a production. This includes managing budgets, ensuring that the crew is completing their work correctly and on-time, and regularly communicating with Producers and Directors regarding the progress of the sound team.

The Supervising Sound Editor may wear many hats depending on the size of the production and is often involved in the recording of sound effects libraries for productions, handles some sound design duties, and works closely with the Foley, Dialog Editing, ADR, Music, and Re-Recording mixing teams.

Our Sound Supervisors are experienced at tailoring our sound services to your specific needs. We focus on learning about your story and your characters to help develop their sonic personality and keep your viewers engaged, all while handling the technical concerns to meet your audio deliverables and finish the project on time.

This is arguably one of the more creative roles in Audio Post. Our Sound Designers create sounds that are believable and will resonate with audiences.

The frightening roars, rattles, and screeches of the creatures,From the lush, organic sounds of nature to crisp, edgy tech-glitch and futuristic audio for Sci-fi, our sound designers record, craft and tailor the right sounds to your unique project for a personality and soundscape all its own.

Creativity, critical thinking, and resourcefulness are important virtuositythatour Sound Designerown.

In addition to most commercial sound effects libraries, we draw on a large collection of our own custom recordings and designed sounds to bring picture to life. Our sound editors understand the necessity of the surroundings and the nature shown on the picture.

Our sound editors shape the heart of the film with Spot Effects/Hard Effects and Background Effects [Atmosphere, Ambiences].

Foley is performance art, it’s like dancing. Our Foley artists and engineers have an impeccable sense of rhythm and dynamics, and an obsessive attention to detail.

For more common, everyday sounds, our Foley team immerse audience in the world of the film. For the finishing touches on your project, you can rely on our team for precise Foley, from footsteps to all kinds of props and movements, tucked into the mix just enough to put your viewer in the moment and bring your scenes to life.

On set, the primary responsibility of the sound crew is to properly capture the dialog. Once this has been recorded, our dialog editor will go through, meticulously cleaning up any unwanted wind, clothing or mouth noise, and generating “fill” as to prevent any unwanted drops in room tone, otherwise known as ambience. This process is extremely important, detailed and time-consuming.

Our dialog editors have a great attention to detail, and the ability to fabricate seamless experience using industry standard tools for telling the story with audible dialogue. Our dialog editors possess “The Invisible Art” of smoothing uneven production audio topreserve emotional experience that forms the foundation of your project’s story.

For any lines from production that simply cannot be salvaged, we turn to ADR. Referred to as “Automated” or “Automatic” Dialog Replacement (formerly “looping”) this process involves getting the actor back in the studio, and then re-recording them reciting their lines alongside the original performance. There could be any number of reasons the original dialog is un-workable. Regardless, getting ADR to fit seamlessly alongside production dialog is very challenging, and requires a great amount of finesse, attention to detail and a great ear.

We understand the nature of acoustics and importance as well, considering that matching the tone and space of the re-recorded dialog to match the original production audio is one of the primary goals of our ADR team.

The Music Editing includesspotting music cues with director and music composer, developing a click-track for the composer, conductor, and musicians to ensure precise timing. We will collaborate with composer at recording and mix sessions and are responsible for making any changes to the music track that may prevent it from flowing seamlessly with the edited picture. After the score is ready we will be fine tuning and editing music to the pictures for the music cues.

We ensure that the flow and tone of a film’s musical soundtrack is appropriate and in service of the Director’s vision.

A vast knowledge of music, a keen sense of timing, and the ability to work well with composersmakes us unique at what we do.

Our credits display live concert forte, we deliver uncompromising quality in music performance mixing for broadcast, television and visual media. In stereo or 5.1, we specialize in presenting compelling music performances at their best, with a live feel that puts your viewers right in front of the stage.

What may go under-appreciated, though, is the amount of work it takes to get that music legally “placed” into the program. We work with the Directors and Producers in choosing music appropriate for the story, and also secure the appropriate licenses needed to use the music legally.

At Immersive Sound our mixers work with a wide variety of sophisticated tools to make your project sound as good as possible.

Once all of the aforementioned elements have been assembled, they need to be balanced and mixed down to a final format. We strive to complete a soundtrack that is stylistically and technically flawless.

The Director will have a vision, and our objective is to bring that vision to life.