01 · Narrative sound
Sound design for film and animation
For projects that need one coherent sonic direction across dialogue, ambience, foley, effects and the final mix.
Services
Sound design, composition and Dolby Atmos with clear direction
I support film, animation and immersive productions from the first sonic direction to final delivery. This page is now structured to be easier to scan: first the overview, then the three main tracks, and finally the supporting workflows that usually matter in real production.
Film and animation
Dolby Atmos 7.1.4
Composition to picture
Remote review
Documented capability
The same standard as the homepage, just more specific to service selection
Calibrated Dolby Atmos 7.1.4 workflow with ADM BWF, stems and stereo fold-down
Sound design, composition and mix can be handled inside one coherent process
Remote review and timecoded feedback for teams across cities and time zones
Cases spanning award-winning animation, feature film and documentary-led sound work
Choose a track
Three clear entry points into the same production
Start here if you simply want to find the right fit quickly. Each card answers three things: when it makes sense, what you get, and what the next step usually is.
02 · Music to picture
Composition
Original music written to picture so pacing, pauses and emotional direction support the scene instead of competing with it.
03 · Immersive delivery
Dolby Atmos mix
When the project needs to move into 7.1.4 with solid handling of ADM BWF, stems, stereo fold-down and distribution requirements.
01 · Sound design
Sound design for film and animation
Complete sound design that brings dialogue, foley, effects, ambiences and mix together in one track. The goal is not more sound, but clearer storytelling and better scene rhythm.
Case track
From spotting to final mix
Best suited to projects where sound needs to shape tone and narrative, not just fill gaps.
Typically includes
You get
- Dialogue editing, cleanup and ADR coordination
- Foley recording and editorial detail work
- Sound effects design, ambiences and transitions
- Premix and final mix focused on pacing and clarity
Best fit when
The project needs one sonic direction
This track works best when sound has to be dramaturgically intentional and fully integrated. Especially if the project moves between silence, physical proximity and larger emotional moments.
Related cases
Service Bus, Wild Child and The Match
Three different productions, same requirement: precise timing, clear tone and sonic consistency through the full piece.
02 · Composition
Composition that works with picture
Original music written and produced to picture. I build cues that help a scene land emotionally, without making the music more important than the story itself.
Music track
When the scene needs identity
Designed for projects where music needs to carry tone, timing and emotional movement.
Typically includes
You get
- Early musical direction and reference conversations
- Sketches, cue development and thematic continuity
- Production, arrangement and integration with sound design
- Delivery of stems or mix-ready material for post
Best fit when
Music must work as active storytelling
This is most valuable when music has to be an active part of the storytelling. Not just background, but a layer that structures scene energy, silence and emotional direction.
Related work
Service Bus and music-led projects
Composition can stand on its own or evolve alongside the rest of the soundtrack. In many productions the result gets stronger when score and sound design grow together.
03 · Dolby Atmos
Dolby Atmos mix (7.1.4)
Immersive mix in a calibrated 7.1.4 studio with attention to both spatial impact and practical delivery requirements. Not format for format’s sake, but because it strengthens the work.
Studio
Mix and delivery in one track
Built for productions where the technical handoff needs to be as reliable as the creative decision-making.
Typically includes
You get
- Calibrated monitoring and balance between beds and objects
- Stereo translation checks and fold-down control
- ADM BWF, stems and a distribution-ready delivery package
- Review flow that keeps approvals simpler for post teams and producers
Best fit when
The project has real format requirements
This track makes most sense when Atmos is part of the delivery spec or when the spatial experience genuinely strengthens the piece. Otherwise, a strong stereo or surround mix is often the better call.
Related pages
Studio, guides and feature work
If you are already thinking in specs, format and workflow, the studio page and guides are the natural next step before we define the final delivery setup.
Additional when needed
Format and workflow without making the process heavier
This is the bridge back to the rest of the site: same studio, same delivery standards and same working method. When the production needs more than a conventional stereo finish, this is where the threads come together.
Process
A simple flow from brief to delivery
Clarify and define direction
We define format, ambition, deadlines and deliverables so decisions stay simple from the start.
Production and iteration
Sound design, music or mix is built in clear iterations so you can respond along the way instead of at the end.
Review and final delivery
Versions, feedback and deliveries are collected in one flow that is easy to approve and easy to keep aligned.
Contact
Not sure which track fits the project?
Send a cut, a synopsis or a few reference tracks together with timeline and budget range. I can then point to the right setup quickly instead of making the process heavier than it needs to be.