ABOUT
Sound is the last thing an audience notices. The first thing they feel.
THE PROBLEM
Most visually driven films are built with enormous care for how they look.
The sound is handled last — with whatever time and budget remain, by whoever is available.
You can notice it when you watch them. Something is missing. You just can't name it.
Production sound. Editorial. Sound design. Final mix.
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Narrative film, television, branded work.
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On set or in post — sometimes both.
Clean dialogue, atmosphere, and the details that ground a film in its world.
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The brief changes every time.
The intention doesn't.​​​​​​​​
Good sound is invisible.
Getting there isn't.
THE PERSON BEHIND IT
I started out wanting to compose symphonies. That ambition took me into music production, then film, then the room where picture and sound finally meet — and I never left.
Over a decade of work shaped how I think:
every sound decision is a story decision.
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I hold a Master’s in Sound Design and Audio Post-Production. I work across narrative film, television, and commercial projects — from prestige brand films to broadcast drama. The brief changes every time. The standard doesn’t.
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I work with a small number of clients at any one time — a deliberate choice. Every project gets the same level of attention regardless of budget or platform.
Half Greek, half sound guy.
When I’m not in the studio, I’m probably spending my money on books I’ll never have time to read — and on good coffee, of course. Usually at the same time. Maybe that’s the thread through all of it: I’ve always been drawn to small things with depth.
