2019 Short Film
lead sound mixer/ designer
ADR | 5.1 Sound mixing | design
This project is a short samurai film drawing inspiration from Akira Kurosawa. Set in the late Edo period of Japan, this film is a challenging one considering design concepts, language, costumes and choreography. Coming from an Asian background and growing up watching samurai, western and kung-fu movies, the team have easily agreed on the sound design concepts as us being all fans of samurai films.
The biggest challenge for this project is to create the genre specific atmosphere. All the sounds are done in Hollywood style (i.e. created in post) to both fit the genre and the quality that the audience would expect a Samurai film would be.
Another highlight of the short film is the Japanese sword (katana) fighting. The sound design draws references from samurai films across different generations, from classics such as Seven Samurai and Yojimbo, to recent genre revivals such as Rurouni Kenshin and The Twilight Samurai. To give the short film a modern polish while keeping the genre's identity. A balance was strived between newer additions to the genre which emphasise more on various movement sound like the samurai robes and straw sandals while older ones focus more on the sword sounds including the clashes of swords and drawing swords from sheaths
long day's journey into night
2018 feature film
Screened at 2018 Cannes Film Festival
55th Golden Horse Awards
- Best Sound Design
- Best Original Score
- Best Cinematography
281 million RMB
41.6 million USD
Benny oz - Plan B
2018 web series
lead sound mixer/ designer
sound mixing | Design | Foley
Given that it is a low budget indie web series, the team could not afford to hire a sound recordist on set. As a result, a lot of the syncs are unclear while none of the atmospheric sound are captured.
Apart from the crazy amount of foley work required for this short webisode, the main challenge comes down to sound-designing the car chase scene. Speaking for an indie project, the scene was beautifully shot and it is crucial for the sound design to keep up with the quality.
With some recording sessions of hunting for Mustang drive-bys and also sourcing samples from real vintage Mustang engines, the end result is a genuine sounding car chase that really sells the show.
Through the window I see no stars
2019 concert film - coming soon
lead audio engineer
surround sound mixing / design
Setting foot into the century old St. Andrew’s Church, the concert brought the audience a fresh immersive audio-visual experience through music and animation in a sacred space.
Aiming to recreate the same experience for a cinematic audience, the music was also remixed from stereo to 5.1 surround sound in order for a fuller sound field. Extra atmos, room ambience and audience reaction was also added for a better immersion and perspective.
The Matrix -
It was an ambitious attempt to acoustically recreate this iconic lobby shootout scene of the classic Matrix movie. The original audio team has won an Academy Award for the sound effect which shows how well they have achieved as sound designers.
The biggest challenge of this project is to recreate numerous gun sounds in an adequate environment without actually record or using samples of any gun shots. Instead, the various gun shot sounds are created by editing and processing the sound of hitting a roller door with a drum stick.
On the other hand, the overall sound design followed the original style of an "Over-the-Top" style which almost sound like old cartoons. Notable sound effects that push the clip in to such a style would be the unrealistic ricochets and guncocks.
no roads to health
audio Clean-up and mixing
When this documentary was first released, the budget and time for audio post production was insufficient as it has to be submitted to a film festival soon after the film was done. Given that this is a real life documentary, the bulk of the work is on enhancing the audio quality rather than sound designing. Since the audio quality was poor to start with, I spent tremendous amount of time on cleaning them up with edits, De-noise, De-clip, etc.
I have also been able to do most of the original score beside editing and mixing. The main challenge on the audio for the film was to fit the cultural and geographical background of Papua New Guniea, somewhere I have never been to nor heard of. To fit the film, I have done some research on the music as well as the environment of the country to provide adequate sound design.