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.
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.
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.
DE: „watertongues – a female music performance“ ist das Ergebnis einer 10-tägigen Residenz im August 2023 mit einem transdisziplinären Team von Frauen. Inspiriert von Judith Butlers Schrift „Vulnerability and Resistance“ und dem Wunsch folgend, Vielfalt und Raum für Stimmlichkeit zu erforschen, hat das Team unter der Leitung von Kara Leva eigene Texte, vokale und instrumentale Soundkulissen erschaffen, die nun den Körper der Performance bilden und die Vielschichtigkeit weiblicher Stimmen und musikalischer Ausdrucksformen widerspiegeln.
EN: „watertongues - a female music performance“ is the result of a 10-day residency in August 2023 with a transdisciplinary team of women. Inspired by Judith Butler‘s writing „Vulnerability and Resistance“ and following the desire to explore diversity and space for vocality, the team, led by Kara Leva, created their own texts, vocal and instrumental soundscapes, which now form the body of the performance and reflect the complexity of female voices and forms of musical expression.
Niemand
ein Bestattungsreigen nach Ödön von Horváth
Ödön von Horváth breitet in seinem Stück “Niemand” ein Panorama der Hoffnungslosigkeit aus: Im ausweglosen Treppenhaus hetzen Figuren auf der Suche nach Nähe umher; schauen zu tief ins Glas und in den Abgrund. Verlässt jemand freiwillig, unfreiwillig, tot oder lebendig diesen Unort, tauchen Neue auf, die Gläser zu putzen; Liebe anzubieten oder betrunken und aggressiv in der Ecke zu sitzen. Die Schwelle zwischen Tür und Angel, zwischen den Stockwerken wird zum gesellschaftlichen Mikrokosmos verschiedener Abhängigkeiten.
Wir erzählen einen möglichen Weg von Horváth Figuren, die in diesem Irrsinn nur Lösungen in ihrem vermeintlich geglaubten Radius des Machbaren suchen. So erzählen wir von Gier, Begierde, Wollust und letztendlich Mord. Über den Versuch, auszubrechen; das Scheitern und Verharren; das Aufbäumen und Aufgeben und - in den Worten Horvaths - von alten Bekannten und kleinen und grösseren Bestien.
«Kennst Du Hirsche?»
nach «Die Bergbahn» von Ödön von Horvath
Ich hätte eine Frage: Wenn das Wetter umschlägt, wird die Arbeit eingestellt hier oben, stimmt’s? Mir ist plötzlich so schwindelig geworden. Das dürfte wohl die Bergluft sein, die eben nicht jeder gewohnt ist. Schau mal meine Hände an, die platzen auf und sind rot. Meine Handschuhe? Schon zerfetzt. Aber jetzt wird weitergearbeitet, mit Hochdruck und sofort. Los! Das Wetter hält. Es hält? Sie passen doch auf aufs Wetter, oder?