Film - Sound Design & ReRecording

Markus Krohn

The Stolen © Corkfilms London

Since 2010, I have been working as a sound designer and rerecording mixer with my own studio in Leipzig / Saxony, focusing on filmmaking. In 2009, I graduated from the Konrad Wolf Film University of Babelsberg with a degree in sound engineering. I love films with extraordinary characters, interesting stories and creative design in image and sound. Be it feature film, documentary, music film, animated film, hybrid formats or 360° VR film.

Oblivion Verses © Endorphine Production GmbH

• Experience with international co-productions (Georgia, New Zealand, Kazakhstan, Bulgaria, USA, France, Netherlands, Switzerland, Israel and others)
• Languages: German, English, Russian
• Experience with different genres like drama, war-movie, art house, animation film, documentary movies, musical films
• Concept: reliable, flexible cooperation in high quality
• Festivals: Films I worked on were presented in: Cannes, Venice, Berlin, Toronto, Amsterdam, Karlovy Vary, Rotterdam etc.
• Quality: My production environment, my solid education and years of experience allow me to offer acceptable prices with no compromise in quality

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The intention is to strengthen the emotional impact of a film and its specific character(s) by a creative sound design and a sensitive mix. Comprehensible and good sounding dialogs embedded in lively atmospheres, good sounding music, with well performed foley and believable effects is the basic goal and precondition for a dramaturgically interesting mix.

• Dialog »

Careful editing with a focus on the naturalness of the characters comes first. Preparing and incorporating ADR, removing annoying sounds and technical issues, improving intelligibility, etc. are all part of this.

• ADR »

Depending on the availability and location of the actors, ADR recording may occasionally be performed in different locations and at different times. Preparations for ADR recording are made in the course of dialog editing. iIf possible, the editor should also take part in ADR recording.

• Sound Design »

Development of the sound concept, design of atmospheres and effects, recording and inventing of sounds, my own sound archive, recording of vehicles, editing and premixing... From the very beginning, I work in an acoustically adjusted studio in 5.1 or 7.1 with HD image projection. Sound designing and premixing are often done in one step - this is more efficient than having two separate operations. All sounds are immediately in “their place”.

• Foley »

I have worked in studios in different countries. I have experienced different approaches used by foley artists. However, the focus is always on the ideal performance of the artist. That is what makes film characters live, showing their nature more clearly. The matching texture and dynamics of the sounds as well as technical quality are of course equally important.

• Premix »

Part of the “classic” premix takes place in the process of editing and design in the premix studio. Effects and atmospheres thus have the desired color, volume and spatiality right from the start. Likewise, the dialogs are edited in the correct volume and with a large image. You do not lose any time due to distorted impressions caused by a too small image, small rooms or too direct loudspeakers.

• Main Mix »

A final screening in the premix studio and immediate adjustments save time and money in the main mix. Depending on the budget and schedule we will find a mixing studio nearby. One option is the Dolby Atmos Premier® Studio at the MMZ in Halle. Depending on production and workflow issues I can recommend different places and I also feel comfortable working abroad. I create near-field mixes (VOD), M&E, stems and TV mixes after the main mix in a smaller studio.

• Supervision »

Working in a team needs to be set up, organized, material and tasks have to be distributed, screeners must be made, results collected and assembled. All depends upon the workflow and timing. For reconforming after picture edits during the sound-post I use EDL based workflows. Changes of the music during mix, updates in ADR or other circumstances can be implemented with acceptable effort if workflows are agreed upon in advance.

• Production »

An early planning of the work on sound helps to avoid technical and organizational difficulties. The saving of time ultimately allows more room for creativity. The earliest possible involvement of the sound engineer and / or the post-supervisor in a production (script phase) makes it possible to consider project-specific features (eg sound recordings with animals, vehicles, special atmospheres, etc.) in planning and budget. Filming, montage and postproduction are going more fluid through technical and content-related preparation. From the recording and logging of the material on the set, to the syncing and organising in the editing room and the export to the sound post, the sounds go through several steps before they arrive at the recording studios. Careful planning ensures integrity and quality.

• Post Production »

An early contact with the editor, at the latest at the first rough cut, enables creative and technical exchange between editors and sound designers. Depending on editing and sound systems, more or less effort is required during the transfer. An early contact with the composers allows a close interaction between music and sound design. Well combined, the overall mix goes more easy in the end. The supervisor organizes the individual work steps during the post production. Agreements between experienced editors and sound engineers also might work well on a "short track". Image changes (titles, credits, effect shots, edit changes) during the post production are not uncommon. Fast and comprehensive communication as well as taking into account the resulting work in schedule and budget make such things possible.

• Deliverables »

After successful mixing, the sound deliverables, also referred to as deliveries, fall to. Their careful preparation and the associated examination (QC = listening) must be taken into account in time and financial planning. Film-specific characteristics (eg several language versions or film lengths) and the desired evaluation (domestic, foreign, cinema, TV, streaming) require the creation of different formats and sometimes additional mixing processes. TV mix (EBU R128), near field mix (eg Netflix specifications), Atmos master, DCP 7.1, DCP 5.1, DVD / BlueRay, Stems in 5.1, downmix in stereo, M & E tracks and Optionals etc. The time required is usually several days.

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• archiving good results at manageable costs
• offering professional workflows
• well-planned workflows will save time and free up capacities for creativity