Designing the sounds in the soundtrack begins with the creative visions of the project and its team. When possible, I like to start before the sound schedule officially begins - during pre-production or production to decide early where the challenges for sound will be, and how to approach them. To capitalize on any sound effect recording opportunities and start the soundtrack's design process.
I begin by recording any new sounds and experimenting with ideas. Developing any critical sounds early on, to make sound editorial run more effectively later. Working with and feeding these sounds to the Picture Department early, to help mold the shape of the project. Then, when the sound editorial schedule actually starts, decisions have been made about important sounds and sound moments.
I protect the dialogue and use ADR sparingly. I like to work with the Composers to know where and what the music will be, and how we can work together. I build layers of detail that you aren't aware of. I like the pauses and spaces, as well as the huge sound moments.
I have been collecting equipment for many years and have a large complement for capturing and designing interesting and unique sound. I use computer hard disk recorders, plug-ins, samplers, synthesizers and any kind of sound processing equipment. Foley and Group Walla also become my tools. I use the technologies to create the sound elements, and the professionals of the Film Sound Industry to help guide your soundtrack to completion.