2008 – Ventosa / Animation Short
2007 – Noche / Animation Short
2006 – Swing / Animation Short
For the uninitiated, Sound Design can sometimes be a confusing and, either all encompassing, or very focused and narrow. One of the reasons the Academy of Motion Pictures Arts and Sciences does not recognize “Sound Design” as a role that can be accurately awarded. For one thing, a Sound Designer may only work on a certain aspect of the soundtrack, like the final mix, for example. In other contexts, Sound Designers may only work with with sound effects editing only, or may play primarily a supervising role; a kind of “sound director.”
These days it is commonly understood that hiring a Sound Designer means that you are hiring a Supervising Sound Editor. This role provides the vision, aesthetic and the process by which the entire sound track will be created. It is a leadership role that answers directly to the creative heart of the production, whether it is an animator or director.
The application of “Sound Designer” in my credits does toe the line in terms of what my specific roles were project to project. For the purposes of viewing my work accurately, “Sound Designer” denotes that I often recorded Foley and edited it, captured field recordings , mixed and prepared for delivery all aspects of the sound track. There are a few exceptions and I have attempted to note those on the projects that apply.
Sound Effects Editing –
Foley Engineering/Editing –
Music Engineering/Production/Editing/Mixing –
Dialog & Voiceover Editing –
Field Recording –