Our studio is built around a seemingly simple but surprisingly uncommon approach to filmmaking. When sound and music departments work collaboratively as a unified team, the picture is elevated by the experimentation and symbiosis cultivated by this relationship. In modern filmmaking, the line between sound and music becomes increasingly hard to hear. So why not have one team guiding the sound of your story?
WHAT WE DO:
SOUND - Mixing, Sound Design, Foley, Audio Engineer, Dialog and ADR, Mastering, Surround Sound.
MUSIC - Composition, music editor, music supervisor, orchestration, record producer, mixing and mastering.
“I’m always excited to collaborate with filmmakers who want to hear new and unique sounds or a sense of hyper-realism in their projects”.
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
“I’ve become interested in how a film's sound can influence the score. When the music pulls its materials 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 terrain to be explored here".
Composer and pianist Greg Andersen writes, performs, and produces music for film, concert halls, pop, and jazz settings. Greg studied Jazz at Capilano University before studying contemporary classical composition at the University of British Columbia. Over the years he’s studied with composers and performers such as Keith Hamel, Bradshaw Pack, Pat Carrabré, Jocelyn Morlock, and Chris Gestrin.