Our Services

It can be rare to have the post production sound team working with the location recordists, however we always seek to get involved when we can with the sound mix team. In our experience it’s been valuable to match mic’s and acoustics for ADR, help plan for wild tracks, atmospheres or room tones from set, and feedback information to the sound recording team so that it helps them deliver exactly what is required for the edit and mix processes. It also means that when we come to post production we are already fully up to speed with the project and can hit the ground running.

A films finished soundtrack always begins life somewhere, and that is the editing phase. Not necessarily always exciting, but hugely important as the foundation of the finished article. Ensuring that everything is in synchronisation, original location sound is evened out, atmospheres are smooth and that music changes happen in harmony with what we are watching, that’s editing, and it’s rather important.

It’s valuable to us to sit with you and discuss the project as an entirety before the work kicks off. We take on board your expectations and aspirations of the soundscape, and of course we like to throw our creativity and ideas in here too. We can keep it real and simply enhance the scenes or we can go all out and become so eerie, you’ll think there’s a futuristic predator luring about. We like to make sure that we are all on the same page, ensuring a clear understanding, on both ends, throughout this time. We also enjoy working closely with composers, so that the soundscape and score can work in harmony, and as the sound evolves, you are involved every step of the way with preplanned reviews and screenings.

Being such an integral part of the soundtrack means that we pride ourselves on getting great foley shot, edited and mixed. Sometimes used in whole scenes and occasionally just to come in and out between the sync sound. Our idea of great foley is when you don’t even know it’s there, it’s just part of  the scene. Footstep matching is often tricky so we like to shoot tests when necessary with different surfaces and footwear, ensuring that we achieve the correct sound to match the scene. With a full foley tracklay shot and mixed, available for when a foreign version is necessary.

Blending the elements together in the final creative sound process is always a thing of beauty. From caressing that blackening stillness before the monster strikes, to the chaotic insides of a 1980’s chemical factory, surrounded by steam hissing pistons and 12 foot whirring cogs, it’s all about getting absorbed into the pictures so that we are no longer watching the film, we are the film. And with state of the art studios we can keep it simple or spin you right around 360 degrees at mach 2 with your hair on fire.

So you’ve finished your project and now you have to hand it over for millions of people to see. From Cinema’s to TV’s, from tablets to smartphones, each platform has it’s capabilities and system requirements. We’ll work with you to determine what’s the best way to maximise the sound for each viewing device and then deliver that to the masses.