Sound is the paradoxical backbone of film. Though we are dependent on software and technology, our work revolves around intuition. We achieve effect, like big sound and deep bass by creating space for silence. The soundscape sinks deep into the image and yet it embraces us from every direction.

I combine sound design techniques from documentary and fiction filmmaking. That includes conducting research into the filming spaces, extensive dialogue editing, foley-recording, designing non-linear project strageties. Every project is unique and requires a tenderly considered approach. My passion is mixing immersive sound, because the relationship between soundtrack, the room, and the audience is always in symbiosis. I have designed and mixed project in formats ranging from ambisonics to theatrical dolby atmos. As a baseline I work in 5.1 at my home studio.

Film sound is generally misunderstood as a technical-craft or one which requires a specific language to understand. In actually your sound-vision begins with a feeling, and together we will share experiences - references - desires, and build our own vocabulary. Likewise the language of the film is not a barrier, as I've worked with Swedish, Norwegian, Icelandic, Czech, English, Indonesian, German, French, and Greek films.

ZANGE_SHR_THTR_51_FullMix

Directed by Iris Baglanea. Produced by Annabelle Aronis, Helene Stergiopoulou, Anders Wilhelmsson. Sound recording by Alexis Koukias. Music by Elena Kakaliagkou, Ingrid Schmoliner.

The sound character of the film came about during pre-production of an early draft of the script. I had been researching the soundscape around Missolonghi - where Zange takes place - and was struck by the quality of wind; sea-borne, ruthlessly skirting over the salt pans. A lot of consideration was put into the creation of the air element and the way it mirrors the vocal quality of the kids, around whom the film revolves.

Drawing from that dynamic of voice and air a counterpointal theme emerged - dead air. Which was constructed with nearly exclusively using the LFE channel. Using wisps of spoken poetry as a gate between the brutal documentary-soundscapes and metaphysical scenes.

DREAMS_WOMEN_BREAD_DolbyAtmos_FullMix

Directed by Sigrún Vala Valgeirsdóttir and Svanlaug Johannsdottir. Produced by Kristín Erna Arnardóttir. Sound recording by Þurý Bára Birgisdóttir. Music by Agnar Már Magnússon

This hybrid film is primary about Women and bringing their stories to life with movie-magic. Our starting goal was to balance the magic-realism elements of the film by supporting the documentary segments with a sense of wonder and style and bring realism to the fictional scenes. For instance, sound was often used to create an image of something that is not visualised. Like a celebratory scene where fireworks fill the skies. Or a car that flies away like a prop-plane, both heard but never seen. Likewise we could bring the sound of trains and wolves to iceland, which have never propagated its soundscape.

As a sound designer I've often felt - perhaps paradoxically - that I am a visual artist. At least in the sense that I am often using sounds to evoke an image, subconsious or otherwise. This film had both the playfulness and freedom to allow me to stretch the audio-visual contract quite far. Of course some scenes could easily have felt disjointed or forced, and avoiding that was the biggest challenge. However after we decided to mix the film in Dolby Atmos, getting access to mixing with height allowed us to create a very strong auditory-image.

theatre and site-specific

--More projects to come!--

--More projects to come!--

--More projects to come!--