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 feel it when you watch them. Something is missing. You just can't name it.
I work across two key stages of the process: production sound on set, and sound design through to final mix in post.
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On set, I capture clean dialogue, atmosphere, and the details that anchor a film in its world. In post, I shape that material into a finished soundtrack — through editorial, sound design, and mix — for brand films, trailers, and cinematic work.
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Some clients bring me in for the shoot. Others for post. Some need both. What stays constant is this: sound should never feel like an afterthought. It should carry intention, tone, and identity from beginning to end.
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​The result is a film that doesn’t just look the part. It sounds like it too.
For directors and brands that care as much about how a film sounds as how it looks — that continuity is the difference between a film that gets watched and one that gets felt.
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 working across narrative film, television, and commercial projects has given me a particular way of thinking: every sound decision is a story decision.
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I hold a Master's in Sound Design and Audio Post-Production. My work spans 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. That's 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 rent 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.
