FILM
Embedded Files
Below are just a few of the films I have contributed to post-production sound. A more complete list is on my IMDb page:
Capital G Great Concept Trailer
Capital G Great Concept Trailer
Echo Nguyen, 2025, 4 min.
Dialog editor, sound designer, re-recording mixer, production sound mixer
I loved crafting hard-hitting, cartoonish transitions (think Who Framed Roger Rabbit) to propel the anxious and outlandish energy of "Capital G Great." My favorite sound moment is the phone ring—a machine gun sound effect complements the ring and drives home how significant this particular call will be...
Martin Urbano: Apology Comeback Special
Martin Urbano: Apology Comeback Special
Willie Rockefeller, Originator Studios, 800 Pound Gorilla Media, 2024, 56 min.
Mixing a comedy special was an exciting, new challenge I was ecstatic to take on. With just two sonic elements at play—Martin's dialog and the crowd's laughter—the balance between them is everything. I had to make measured calls on how loud each crowd response should play based on the context of each joke within the special.
Golden Moon
Golden Moon
Aisha Sultanbekova, 2024, 13 min.
Dialog editor, sound designer, re-recording mixer
PBS POV Documentary Series | Aspen Film ShortsFest | Bainbridge Island Film Festival
"Golden Moon" follows a Kyrgyz student paying her college bills through trucking. Bringing dialog out of constant engine rumble and road noise was a fun challenge. I also enjoyed creating immersive ambiences in 5.1 to bring the audience directly into the truck cab. Above all, it's an amazing story!
The Ramble
The Ramble
Jacob Gusentine, 2024, 23 min.
Birdsong is a critical element of "The Ramble." As the production recordist and re-recording mixer, I took the opportunity to record the reverb profile of the set. I applied this profile to the birdsong added in post to achieve a hypperrealistic sonic quality. This technique is called convolution reverb (if you're inclined to geek out like me).
Near
Near
Jacob Gusentine, 2023, 18 min.
Dialog editor, sound designer, re-recording mixer, production sound mixer
Magnolia Film Festival | Utah Film Festival
"Near" is a subtle film that lets the quiet moments breathe. "The soundscape should feel like a warm blanket" was my direction. I took extra care to record quality stereo ambiences on set to take with me to the 5.1 mix. Sweetening these with warm 5.1 ambience recordings yielded lush backgrounds that let the pregnant silences shine.
Big Trip
Big Trip
Jared Berger, 2024, 70 min.
Dialog editor, foley artist, sound designer, re-recording mixer, production sound mixer
Culver City Film Festival
A road trip film spurred by psychedelics, each Big Trip character needed a unique soundscape for their individual drug experience inspired by their fears and desires. This film is full of scenes barely tethered to reality, and the sound had to sell that in tangent with visual effects—I used trippy dialog processing chains, sound FX pulled from canine heart recordings on 60s-era vinyl, my own field recordings and whatever else I could find to pull this off.
The Blue Pipe
The Blue Pipe
Thomas Casler, Pink Slate Media, Los Muchachos Worldwide, 2024, 8 min
Dialog editor, sound designer, re-recording mixer
Jury Prize Winner at Cineverse Film Fest | Festival for Drama Film & Writing
"The Blue Pipe" relies on foley and ambience to envelope the audience in the feelings of a quiet summer's day in a college neighborhood. I loved sneaking the classic UT Austin tower bells into the soundscape. Sometimes, it's not easy to know what should play in the background—this project was an exception.
Dirty Laundry
Dirty Laundry
Andrew Neylon, Salmon House, 2024, 11 min.
Dialog editor, sound designer, re-recording mixer
The Comedy Film Festival | SF Queer Film Fest
I went to my neighborhood laundromat to gather as many sound effect recordings I could to create the "Dirty Laundry" soundscape. Taking inspiration from Everything Everywhere All At Once, I incorporated those sounds into the dramatic journey of the film; aligning the increasing whir of a washing machine with the heightening tension of a scene, for example.
Refuse
Refuse
Andrew Neylon, Salmon House, 2022, 13 min.
Dialog editor, sound designer, re-recording mixer
Nature Without Borders Film Festival | Hoosier Film Festival
"Refuse" presented a fun mixing challenge with a scene involving two characters chatting while walking deeper into the woods away from the camera: How do you make their lavalier microphones sound increasingly distant? I think we got to a good place after some careful EQ and reverb tweaks. And of course, putting together a nature soundscape that evolved with the passing time was a blast.
Below are some of the companies I have had the pleasure of doing production sound work with!
Lynn
Lynn
Crayton Gerst, New Orgen Media, 2025, 20 min.
Dialog editor, foley artist, sound designer, re-recording mixer
"Lynn" dives into the story of Lynn Eusan, the first black homecoming queen at the University of Houston. My favorite part of this project was recreating the sounds of a college football game to enhance archival footage. From the PA system to music to evolving crowd sounds, I used everything in my wheelhouse, including a voice generation software to create a booming stadium announcer track.
It Ain't What You Think It Is
It Ain't What You Think It Is
Crayton Gerst, New Orgen Media, 7 min.
Dialog editor, sound designer, re-recording mixer
In "It Ain't What You Think It Is," sound was an important comedic tool for bringing the audience into the mind of the main character and snapping them back to reality at the right moment. We did this through carefully levelled ambience to emphasize the awkward silences and let the jokes breathe.
Callisto's End
Callisto's End
Nathan Schiele, Fowl Play Productions, 2022. 18 min.
Dialog editor, sound designer, re-recording mixer, production sound mixer
Winner at: L.A. Sci-Fi & Horror Festival | Indie Short Fest | Worldfest Houston
My little brother is the secret foley artist on "Callisto's End"; he was more than happy to unleash his unbridled screams at my microphone for my "sounds of hell" soundscape in the beginning of the film. With all the sound FX libraries out there, it's easy to forget that we are our own libraries!
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