18 Months
Oscar & Annie Qualifiedanimated short
Animayo 2026 Grand Juryanimation
LIA Silver 2025sound mixing
Clio Shortlist 2026sound design
SIGGRAPH Jury's Choiceanimation
This film needed words. I wrote them.
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Field NotesThree scenes.
A mother in the city. No silence, but no soothing sound either. A hostile acoustic landscape that had to carry everything she couldn't say out loud. Foley does what the image refuses to explain.
A mother in the city. No silence, but no soothing sound either. A hostile acoustic landscape that had to carry everything she couldn't say out loud. Foley does what the image refuses to explain.
A father alone in an apartment, feeling something his body was never designed to feel. The challenge wasn't emotional. It was somatic. Making an audience feel in their body what the character feels in his own.
A tribunal. Every voice generated by AI, cold, precise, institutional. The machine speaks. The human disappears inside it.
I came in as a Sound Supervisor. That's not how I left.
I introduced dialogue as placeholders. The writers would replace them. I wrote the words. The AI spoke them. The State had a voice.
I came in as a Sound Supervisor. That's not how I left.
I introduced dialogue as placeholders. The writers would replace them. I wrote the words. The AI spoke them. The State had a voice.
The director kept almost every line. That's the moment when supervision becomes authorship. I followed it.
Atmos / WorkflowThis film demanded immersive sound. Not as a format checkbox. As a creative necessity. Every sensation built in the mix only fully exists in 360.
The challenge was approval speed. Atmos renders are heavy. Directors and creatives don't live in certified rooms.
So we built a workflow inside Pro Tools where every exported movie file carried a native binaural render baked in. No extra steps. No conversion pipeline. No waiting. The director, the agency, the creatives, everyone could hear a full immersive mix on their own phones, on Bluetooth headphones, from their living rooms, at every stage of approval.
The immersion was never a final delivery surprise. It was part of the conversation from day one.
The challenge was approval speed. Atmos renders are heavy. Directors and creatives don't live in certified rooms.
So we built a workflow inside Pro Tools where every exported movie file carried a native binaural render baked in. No extra steps. No conversion pipeline. No waiting. The director, the agency, the creatives, everyone could hear a full immersive mix on their own phones, on Bluetooth headphones, from their living rooms, at every stage of approval.
The immersion was never a final delivery surprise. It was part of the conversation from day one.
Binaural Mix
Thirst
Clio Bronze 2023sound design
Clio Health Silver 2023sound design
The One Show 2023sound design
Hacking the algorithm. Using only sound.
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Field Notes2021. Full pandemic. Platforms running aggressive content moderation, algorithms flagging anything that could be read as sexual.
The brief was a film about female pleasure. No images that could be censored. The constraint wasn't creative, it was technical. The platform would kill it before anyone saw it.
So the question became: how do you make an audience feel something physical and intimate using only what they can hear?
The brief was a film about female pleasure. No images that could be censored. The constraint wasn't creative, it was technical. The platform would kill it before anyone saw it.
So the question became: how do you make an audience feel something physical and intimate using only what they can hear?
SFX Only
The answer was a handbuilt microphone. One that only works underwater. Recording textures that reference the body, origin, interiority. Sounds that exist inside fluid, that carry the biological memory of being female.
Nobody censors what they can't see. The audience felt everything.
Nobody censors what they can't see. The audience felt everything.
Ayrton Senna
Ayrton Senna. Nothing but perfection.
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Field NotesAyrton Senna in Brazil is not a sports figure. He is a religion. And the Ayrton Senna Institute guards that legacy with a precision that matches it.
The film needed to recreate a specific lap, the one where Senna transcended driving and entered something closer to a spiritual state. Which meant every sound in that car had to be true. Not approximate. Not evocative. True.
That's a different kind of brief. It starts in an archive and ends somewhere the archive can't reach.
The film needed to recreate a specific lap, the one where Senna transcended driving and entered something closer to a spiritual state. Which meant every sound in that car had to be true. Not approximate. Not evocative. True.
That's a different kind of brief. It starts in an archive and ends somewhere the archive can't reach.
SFX Only
Sonic ArchaeologyHours of original race footage from Monaco, watching, listening, mapping the exact sound the car made at each corner of that specific lap. Not any McLaren. The MP4. Not any lap. That one.
Senna drove with a technique called punta-tacco, heel and toe simultaneously, and that technique gave his driving a musicality that was entirely his own. Learning to hear it took time. Finding the recordings that captured it without commentary, without music, without a narrator covering the moment we needed, that took longer. It was the kind of listening that changes how you listen to everything after.A.I. or not A.I?When this film came out, recreating voices with the new LLMs was the hype. A choice that would have brought a lot of spotlight to the project and the audio team.
But I could never use AI to recreate Senna. That would only satisfy ourselves. We used it to clean what already existed. To recover the dialogue at its most present, most human, without manufacturing anything that wasn't already there. That's Senna's spirit.
Senna drove with a technique called punta-tacco, heel and toe simultaneously, and that technique gave his driving a musicality that was entirely his own. Learning to hear it took time. Finding the recordings that captured it without commentary, without music, without a narrator covering the moment we needed, that took longer. It was the kind of listening that changes how you listen to everything after.A.I. or not A.I?When this film came out, recreating voices with the new LLMs was the hype. A choice that would have brought a lot of spotlight to the project and the audio team.
But I could never use AI to recreate Senna. That would only satisfy ourselves. We used it to clean what already existed. To recover the dialogue at its most present, most human, without manufacturing anything that wasn't already there. That's Senna's spirit.
The TunnelInside the tunnel, the car disappears.
Everything stops. The engine, the tires, the mechanical reality of the lap. What replaces it is entirely synthesized. Layers built from synthesizers, designed to give sound to something that has none: the interior of a man reaching the absolute limit of his own capacity and finding something on the other side of it.
Senna's nirvana. His technique at its peak. And then, immediately after, the crash. The most human moment in the film arrives right after the most transcendent one. The sound had to hold both.
Everything stops. The engine, the tires, the mechanical reality of the lap. What replaces it is entirely synthesized. Layers built from synthesizers, designed to give sound to something that has none: the interior of a man reaching the absolute limit of his own capacity and finding something on the other side of it.
Senna's nirvana. His technique at its peak. And then, immediately after, the crash. The most human moment in the film arrives right after the most transcendent one. The sound had to hold both.
SFX Only
K-Drama Samsung
Korean culture. Latin audience. Samsung Standards. And a remote dub session.
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Field NotesA K-Drama series adapted for Latin America means many juries watching simultaneously, each with different ears and zero tolerance for error.
The Korean fanbase notices everything: cultural texture, performance cadence, sonic identity of the genre. The Brazilian general audience needs to feel at home. And Samsung Korea. Rigid approval, no exceptions.
The challenge wasn't just translation, but finding the version that could pass all three tests at the same time without becoming generic in the process.
The Korean fanbase notices everything: cultural texture, performance cadence, sonic identity of the genre. The Brazilian general audience needs to feel at home. And Samsung Korea. Rigid approval, no exceptions.
The challenge wasn't just translation, but finding the version that could pass all three tests at the same time without becoming generic in the process.
I ran this project in parallel with active advertising projects, with a team of three. One session defined it: directing a South Korean-descended actor in Curitiba from São Paulo, in real time, with the director and executive producer listening in remotely. A dubbing session held across three cities, on a tight window.
The role extended into music supervision, identifying and contracting an independent composer outside the production company, someone whose voice fit the project precisely. Once the score existed, I used AI to generate remix variations with Korean-language vocals, creating versions that could serve different editorial and platform needs.
Agency speed. Cinema standards. A small team who knew exactly what they were doing.
The role extended into music supervision, identifying and contracting an independent composer outside the production company, someone whose voice fit the project precisely. Once the score existed, I used AI to generate remix variations with Korean-language vocals, creating versions that could serve different editorial and platform needs.
Agency speed. Cinema standards. A small team who knew exactly what they were doing.
DeliverySamsung's platform has its own rules. Globo Play has others. Broadcast surround is not a creative choice here, it is a mandate, and it has to work across all of them simultaneously.
We applied the same Atmos binaural workflow from our advertising practice. Every approval file carried a native immersive render. The director and creative team heard full surround on their own headphones throughout the entire process. No certified room required. No surprises at final delivery.
Long form, done right. And fast.
We applied the same Atmos binaural workflow from our advertising practice. Every approval file carried a native immersive render. The director and creative team heard full surround on their own headphones throughout the entire process. No certified room required. No surprises at final delivery.
Long form, done right. And fast.
Skindeep
LIA Silver 2021music & sound design
Clio Health Bronze 2021sound design
EmpowHER. What lives under the surface needs to be heard.
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Field NotesStructural racism as a sensory experience. Not an argument, not a statement. A feeling the audience couldn't locate or name, only register.
The film lives underwater. Literally and conceptually, the subaquatic world as Plato's cave, as the womb, as the space where what happens beneath the surface of daily life finally becomes visible. Or in this case, audible.
The problem wasn't emotional access. It was physical access: making an audience inhabit a sensation that structural racism produces but never announces.
The film lives underwater. Literally and conceptually, the subaquatic world as Plato's cave, as the womb, as the space where what happens beneath the surface of daily life finally becomes visible. Or in this case, audible.
The problem wasn't emotional access. It was physical access: making an audience inhabit a sensation that structural racism produces but never announces.
SFX Only
A bucket. A hydrophone. A recording session that looked nothing like a studio.
The aquatic sound world in this film is entirely original, captured with a hydrophone submerged in water, recording the textures that exist inside fluid. Sounds that reference the body, origin, interiority. The same sonic vocabulary that connects to the womb, to submersion, to being inside something you can't see from outside.
The aquatic sound world in this film is entirely original, captured with a hydrophone submerged in water, recording the textures that exist inside fluid. Sounds that reference the body, origin, interiority. The same sonic vocabulary that connects to the womb, to submersion, to being inside something you can't see from outside.
The creature required a different decision: full synthesis would have been too clean, too artificial. The wrongness we needed only comes from manipulating something that started organic. A human voice processed until it becomes unrecognizable, but still carrying the biological memory of what it was. That tension between origin and distortion is exactly what structural racism feels like from the inside. It almost sounds like something familiar. That's what makes it unbearable.
SFX Only
The Bridge
LIA Gold 2023sound design
Clio Health Bronze 2023sound design
New York City. Lou Reed. And a note for silence.
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Field NotesA city full of people. One man alone in it. A stray that stays. Paws NY brought a short animated film about abandonment and loneliness at urban scale. The visual language was delicate: grey tones, paper collage, handmade fragility. Everything drawn as if it could come apart.
Giving sonic perspective to animation is a different discipline than working with live action. There's no ambient reality to capture, no location sound to build from. Every sound is a decision made from zero, and every decision either holds the visual world together or betrays it.
Giving sonic perspective to animation is a different discipline than working with live action. There's no ambient reality to capture, no location sound to build from. Every sound is a decision made from zero, and every decision either holds the visual world together or betrays it.
SFX Only
A paper collage aesthetic demands lightness. Presence without weight. The Foley became the emotional center of the film, footsteps, interior surfaces, the dog. The small sounds of a life that still exists even when the person living it has stopped believing it does. The city got the opposite treatment: scale without warmth, crowd without connection. The metropolis as the condition that makes loneliness possible at maximum density. And underneath all of it: Lou Reed. A track I've loved since I was young, from one of my genuine heroes. Working inside that music wasn't a technical challenge. It was a privilege that demanded the work be worthy of it.
Xbox
Avowed. Organic sources and digital mangling.
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Field NotesObsidian's Avowed is one of the most beloved RPG universes in gaming. Six million players in the first month. A nomination for Best RPG at The Game Awards 2025. A world built over years that demanded a trailer worthy of its mythology.
The brief: compress that world into sixty seconds without losing its scale. Make someone who has never heard of Eora feel the weight of it immediately.
The brief: compress that world into sixty seconds without losing its scale. Make someone who has never heard of Eora feel the weight of it immediately.
SFX Only
I decided to record a lot of assets from scratch, so I could perform the movements on screen. Watching the film on my phone and performing in the woods. Green leaves, dry leaves, living wood, dead wood. Objects in different states of existence: growing, dying, decomposing, returning.
Woods Recording
From there: digital manipulation to push the material past recognition. The result is a sonic world that feels ancient and alive simultaneously, because it started that way, before the machine touched it. That's the difference between designing sound and building it.
DeliveryA cinematic mix built for scale. The kind that earns mythology rather than announces it. Spatial, immersive, and committed from the first frame to the last.
Full Atmos workflow with native binaural renders on every approval file. Every person in the approval chain heard the full immersive mix on their own headphones throughout the process. No certified room required. No version gap between what we heard in the studio and what they heard on their end.
When the final delivery arrived, it wasn't a surprise. It was a confirmation.
Full Atmos workflow with native binaural renders on every approval file. Every person in the approval chain heard the full immersive mix on their own headphones throughout the process. No certified room required. No version gap between what we heard in the studio and what they heard on their end.
When the final delivery arrived, it wasn't a surprise. It was a confirmation.
