Synopsis: "After witnessing his wife's illicit affair, a humiliated businessman flees deep into the countryside where he encounters a reclusive war veteran. Together, they strike a maniacal pact to take revenge on the man who cucked him."
This is a film by to London based directors Finbar Somars and Seán Mackey. For this film I did the sound design and final mix in Dolby Atmos.
Synopsis: "Lira is running late for an important event. But when she tries to leave her apartment, things won't stop distracting her. What starts as the simple joy of getting lost in the moment, quickly turns into a far more compulsive behaviour."
This was the first film I did in Dolby Atmos and it contains many exciting shots where I could experiment with textures in Atmos. For the film I recorded a lot of FX. Part of it was about a opera singer, so I asked at the local opera to record the audience during one of their performances.
The documentary questions the characteristics of time and our interaction with it. Through conversations with individuals from various fields, we gain insights into diverse ideologies and perspectives that provoke contemplation.
For this film I did the sound design and fx mix in Dolby Atmos collaborating closely with the composer.
Die ZHdK zeigt Henry Purcells dreiaktige Oper „Dido and Aeneas“, die Geschichte um das Aufblühen und Vergehen einer leidenschaftlichen Liebe.
Die Musik durchläuft dabei die ganze Bandbreite menschlicher Emotionen und Verstrickungen. Ein Paradestück für die jungen Gesangs- und Instrumentalstudierenden der ZHdK und Benoît Hartoin, der die Musiker:innen vom Cembalo aus durch das vielschichtige Werk leitet.
Rechteinhaber/in
Zürcher Hochschule der Künste
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Diary of a Woman is a feature film by Simon Aeby. For this film, I recreated approx. 97% of the sound, did the sound design and effects mix.
Initially, I joined this project as a sound designer to extend a pre-existing 60 minute version of this film to 90 minutes in length. However, after a thorough project review, it became clear that a lot of the sound had been lost in the almost 10-year-long editing process. This realisation meant that the project would take on a larger scope, requiring me to reconstruct all the missing sound. It presented an exciting challenge to find the right balance between a more raw and realistic sound design and a polished soundscape.
As Dolby Atmos has become a mainstream standard for high-quality sound and an immersive cinematic experience, sound designers are increasingly open to experimenting with immersive environments. My own fascination with Atmos began during my first year of my sound design studies. When I started to work in this medium, I realised that even though there was a lot of material on the technical side across various online platforms, the individuality in workflows made it difficult to know whether my own work aligned with the industry standard. Rather than consulting more manuals on Atmos, I wanted to know more about the practical implementation of this technology and how it could be used creatively. Recognising that the majority of professionals learn in auto-ditactic ways and constantly develop their own practices by relying on their previous experiences, I decided to conduct two surveys, one for sound designers and one for re-recording mixers. In this thesis, I will investigate how working in this medium influences and transforms the creative process of sound designers and re-recording mixers. Using the results of these two surveys, I will examine how the implementation of Atmos can facilitate the creative process in sound design and how Atmos can help enhance the screen's narrative in return.
HUNGARIA
Orchester der Zürcher Hochschule der Künste
Zsolt Nagy - Leitung
Péter Eötvös (*1944)
Sirens' Song (2020)
(13′)
Béla Bartók (1881–1945)
Tanz-Suite (1923)
(16')
I. Moderato
II. Allegro molto
III. Allegro vivace
IV. Molto tranquillo
V. Comodo
VI. Finale. Allegro
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Franz Liszt (1811–1886)
aus: 2 Episoden aus Lenau's Faust, S.110 (1856–61)
Nr. 2 - Der Tanz in der Dorfschenke (Mephisto-Walzer)
(12')
Ernst von Dohnányi (1877–1960)
Sinfonische Minuten, op. 36 (1933)
(15')
I. Capriccio: Vivacissimo possibile
II. Rapsodia: Andante
III. Scherzo: Allegro vivace
IV. Tema con variazioni: Andante poco moto
V. Rondo: Presto