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Each project is unique. That is why it is my greatest concern that, in close collaboration with my clients, I find exactly the right sound for their needs. This can be a bombastic, bass-loaded cinematic sound, but also a quiet, subtle extension of the original material with delicate natural sounds. Everything that is good for the project and completes the overall picture. Because the best sound is so appropriate that it does not attract attention, but simply arouses and supports the right emotions.

Depending on your requirements I offer the following services
foley record**
and edit
dialogue edit
stereo / 5.1 *
voice over edit

*7.1 and Dolby Atmos possible when booking an appropriate external mixing room

** requires an additional foley recording studio as well as a foley artist

project schedule

Step 1: Meeting

First of all, it is important to determine the work to be done and the extent to which this should take place. This can happen during a telephone call, e-mail or at a personal meeting.

Step 2: Delivery

Next, I need some data to start my work. What this is depends on the nature of the project. For a radio play, for example, there is of course no video file and a documentary usually has no scene and take numbers.

Typically thes data include:

  • The video with captured time code in the upper left corner (start of message at 10: 00: 00: 00) and for scenic projects scene / setting / take number in the upper right corner in mov container with h264 or Avid dnxhd codec.

  • The audio tracks of the editing as OMF or AAF either with complete audio embedded (not consolidated with handle length) or with the relink option to the complete audio files, which are delivered separately.

  • If available (especially for scenic projects) sound reports from the set and if possible the complete audio material from the shooting.

  • In any film I also need a Sync Piep two seconds before the start of the contest. (In the video a white frame with exactly one frame length and in the audio a sine tone with 1kHz, also exactly one frame long)

Step 3: Work in Progress

Now I start with the work we agreed upon. For checking, I can send you some preliminary results, or we meet at my work station to listen to the project together and see if the work is going in the right direction.

Step 4: Finishing

As soon as I have finished my work, you can sight it and approve. If further improvements are desired, I will perform as previously agreed. (For example a certain number of improvements or any change requests up to a specific date). I then deliver an appropriate audio, optimized for the target medium. For example, a stereo mix according to EBU R128 standard for TV evaluation in Germany, or a 5.1 mix for festival and cinema evaluation.

radio play
educational film
corporate video
feature film

Laura Schnaufer

sounddesign and mix

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