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.
Film | Sound Design | ReRecording
Sound designer and rerecording mixing engineer with my own studio in Leipzig and about 20 years experience in film sound and music production. 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. I graduated from the "Konrad Wolf" Film University of Babelsberg with a degree in sound design.
• Experience » international film productions of various genres
• Festivals » Cannes, Venice, Berlinale, Toronto, Amsterdam, Rotterdam etc.
• Languages » German, English, Russian
• Quality » My studio with industry-standard equipment and my education and experience allow me results without compromise in creativity with undivided attention to the film
• International experience » USA, Jordan, Israel, New Zealand, Russia, Kazakhstan, Georgia, Netherlands, Slovenia and others.
Supporting the emotional impact of a movie and its special character through empathic sound design, natural-sounding dialogue and a dramaturgically interesting mix is my first concern in sound editing.
The animated documentary "Chris the Swiss" shows how closely animation, music and sound design can be interwoven to portray the inner states of the protagonist.
• Dialog »
• Sound Design »
Following the dramaturgical line, I design a sound concept that evolves during the work. 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., I record individually to the film. I work in an acoustically calibrated studio with HD image projection. Sound design and premixing go in one operation. All sounds are immediately in "their place".
• Premix »
In preparation for the main mix, part of the premix will take place during the sound design. The work steps, which usually took place one after the other in the past, merge 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, their editing with a big picture has also proved to be advantageous. All processing steps can be refined later during the main mix. A film leaves the premix in the optimal case with mostly finished sounds, dialogues and finally selected music.
• Main Mix »
In order to make the most of the time in the cinema studio, a screening at the beginning of the main mix is recommended. As a result, the further tasks can be planned. The well prepared premix allows a smooth transition into the big studio. Under the impression of cinema conditions, the detailed work on sound levels, progressions, etc. takes place. At least from this stage, a final image is the prerequisite for optimally focusing on the effect of the sound to the film. The final screening with the director and producer concludes the process of content-related sound work.
• Deliverables »
Complementary near-field mixes, M & E, Stems and TV Mixes I create 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 (eg 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.
• Supervision »
With early involvement, I advise on content-related procedures and planning of project-specific requirements. Occasionally I start with the sound editing in the stage of the rough cut. Changes in the picture editing in an advanced stage of the sound post production process cause disruptions in the workflow and must be taken into account in the planning. For such occations I use semi-automated workflows. An early coordination with the film editor 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 of different countries. Depending on requirements, I organize the work in a team, make arrangements with or give recommendations about studios, create intermediate mixes and stand in creative and technical exchange with the composers.
• creative results at acceptable costs
• free capacities through planned workflows
• lowering afford for technical issues