IMDB – https://www.imdb.com/title/tt32985821/
Film Duration – 250 mins
I recently had the opportunity to work as the Sound Mixer for Reparations, a feature-length film (2h 25m) by Chrystal Rose, following the success of her award-winning short Too Young For Love.
I was brought onto the project to deliver the final 5.1 surround mix, with all completed sound-design stems—dialogue, effects, Foley, and music—prepared and ready for the dubbing stage. This allowed me to focus fully on shaping and elevating the sonic experience as the picture grade was being finalised.
Delivering the mix required a high level of precision and intentional listening: cleaning harsh recordings, smoothing micro-breaths, refining the textures of sound effects, balancing atmospheric shifts, and using accurate spatial panning to make each on-screen movement feel natural and alive. It also meant providing the director with clear feedback on moments that required re-dubbing or where certain elements needed softening or further adjustment. Together, these decisions enhanced the film’s clarity, depth, and overall immersion.
Strong file organisation and clear communication were essential throughout the process. Working closely with the recording engineers, colour graders, sound designer, and the director ensured a smooth, cohesive workflow from start to finish.
As an audiophile and lifelong film enthusiast, bringing this world to life through sound was genuinely a joy.
More updates coming soon—stay tuned.
Copia A (Sound Re-design)
As part of my audio engineering degree at SAE London, I had took on an assignment that invovled redesigning the sound for an exisiting animated short film called ‘Copia A’ – a short film by Trexel Animation.
This included completing all aspects of the audio production for this 5 minute short film which includes :
- Collating found sounds through field recordings,
- Designing sound effects through foley recording and electronic sound synthesis.
- Editing sounds either to clean up, applying precise fades for seemless transtions and syncing sounds to a visual.
- Enhancing clarity through cleaning up hiss and unwanted noise on any recordings.
- Using EQ and compression to balance each recording/sound.
- Adding realism to each camera shots/sequence through automating sounds effects and filters to provide a sense of the space, directionality (for any movement in the scene) and depth perception using sound effects like reverb in a 5.1 surround sound studio environment.
- Levelling and compressing all sounds in amanner that ensures no distortion and that the entire mix level adheres to the prescribed target audio level.