DOLBY ATMOS | SOUND DESIGN | MUSIC COMPOSITION
RE-RECORDING MIXER | SOUND EDITING | FOLEY
MUSIC SUPERVISION | IMMERSIVE AUDIO
What makes our studio different?
Our team brings each project a philosophy on sound that has developed
and grown through our years of close collaboration, constantly mixing and challenging our individual perspectives as composer and sound designer inorder to find a new approach to every project we take on.
Sound Designer | Re-recording mixer
Foley Artist | Sound Editor | ADR
“I’m always excited to collaborate with filmmakers who are pushing for new and unique sounds in their films. The best part of my work is that I get to transport an audience to faraway places where they can explore new worlds from the comfort of their couch through sonic hyper-realism. The ability to do this really opened up ever since Greg and I started working with Dolby Atmos".
Originally from Brazil, Henrique moved to Canada to study audio engineering with Adam Fulton and Andrew Czink. Since then, he’s worked as an assistant engineer for 604 Records with Pedro Dzelme, a recording engineer at Pyatt Hall, and as a post-production audio freelancer for film, tv, games, and commercials.
Composer | Re-recording mixer
Producer | Pianist | Music supervisor
“I’ve become interested in how a film's sound can influence the score. When the music pulls its inspiration from foley and sound design, there's a lot of potential for a blended sonic experience in which the listener loses track of where sound stops and music begins. It feels like there’s still a lot of new terrains to be explored".
Multi-award-winning film composer Greg Andersen has a Bachelor's in Composition from UBC and has studied with composers and performers such as Keith Hamel, Bradshaw Pack, Pat Carrabré, Jocelyn Morlock, Chris Gestrin, and Alan Matheson over the years. Greg can usually be found at the piano or digging into new approaches to immersive audio mixing (Dolby Atmos).