Supporting the credibility of the characters by choosing the best takes and a natural sound of their dialogues comes first. The preparation and incorporation of studio recordings as well as the reduction of technical problems to improve the intelligibility belong to it. I have experience editing dialogs in different languages • Especially difficult production sound or problematic archive material might need restauration. Improving the quality of such tracks is possible but requires some extra efford.

Following the dramaturgical line, I design a sound concept. For creating atmospheres and effects I use my own recordings, my sound archive, which has grown over the years, and material recorded at location. Special sounds, such as sounds of vehicles, animals, machines, etc., are recorded for each film individually • I work in an acoustically calibrated studio with HD image projection. Sound design and premixing often go in one operation. The sounds are immediately in "their place".

Editing & premix of score music in 5.1 or broader formats starting with submixes (e.g. stereo premix stems) or from individual tracks. Upmix of stereo music. Mastering of music tracks in stereo or 5.1

Thanks to the work in the digital audio workstation a part of the premix work will take place during the sound design. Whereas in the past these operations usually took place one after the other, now they are merged into one process. In this way, effects and atmospheres have the desired color, volume and spatiality right from the start. For the estimation of the sound and the artistic quality of the dialogues, editing them with a big picture has also proved to be advantageous • All processing steps can be refined later during the main mix. Ideally, a film leaves the premix with finished sounds and finally selected music.

In order to make the most of the time spent in the cinema studio, it is recommended to have a screening at the beginning of the main mix. After that, further tasks can be planned. A well-prepared premix enables a smooth transition into the big studio. Under the impression of cinema conditions, detailed work on sound levels, progressions, etc. takes place. From this stage onwards, a final image is the prerequisite for beeing able to optimally focus on the effect the sound creates for the film. A final screening concludes the process of content-related sound work.

Complementary near-field mixes, M & E, Stems and TV Mixes are created after the main mix in my own studio. The time required for creating the deliverables and the associated quality check (QC = listening) is usually several days. Film-specific characteristics (e.g. several language versions or different film versions) and the desired distribution (domestic, foreign, cinema, TV, streaming) require different formats and sometimes additional mixing time. TV mix (EBU R128), near field mix (eg Netflix specifications), Dolby Atmos master, DCP 7.1, DCP 5.1, DVD / BlueRay, Stems in 5.1, downmix in stereo, M&E tracks and Optionals etc.

I advise on content-related procedures and planning of project-specific requirements, provided my involvement in the project began at an early stage. Occasionally, I start editing sound at the stage of the rough cut. Changes in picture editing at an advanced stage of the sound post-production process cause disruptions in the workflow and must be taken into account at the planning stage. For such occations I use semi-automated workflows. An early coordination with the editor of the film reduces the time required for this • Through my membership in professional associations, the European Film Academy and my work in a number of co-productions, I have contacts with colleagues and studios in different countries. Depending on requirements, I organise work in a team, make arrangements with or give recommendations about studios, create intermediate mixes and engage in a dialogue with composers on creative and technical issues.

Audio Workstation - ProTools Ultimate, Operating System - OSX, Projection - 1080p DNxHD 36 or ProRes 422