About Me
I was born and raised in Athens, Greece. While playing with the local music bands as a teenager, I discovered my interest in sound.
I decided to professionally get involved with audio and I started studying sound engineering while already working in concerts.
Between 1994-1999 I worked as a Sound Assistant-Boom Operator for 18 feature films. At the same time, I was operating as the Sound Recordist for smaller productions and short films.
Since 1994, I have worked as a Sound Supervisor, Production Sound Mixer – Sound Recordist in 3 7Feature films, 9 TV Dramas, Documentaries, commercials in both local and international productions, in Greece or abroad [US (New York City, Chicago, Boston), England , Italy, Turkey, Cyprus, Germany, Spain, Afghanistan, Belgium etc].
I have been honored with five sound awards by the Hellenic Film Academy for the films:
Pity (2019)
Directed by Babis Makridis
The Last Note (2018)
Directed by Pantelis Voulgaris
Park (2017)
Directed by Sofia Exarchou
Little England (2014)
Directed by Pantelis Voulgaris
Deep Soul (2010)
Directed by Pantelis Voulgaris
My Work
Our work target is to capture the audio imprint of each script.
The final audio result is reached by creating the appropriate conditions and caring for the details, both of which are equally important. One can perceive the above as a chain of links. If one of the links breaks, the result is shaped differently.
Understanding the script and the director’s intention, communicating with the crew and both the technical and artistic departments are key elements required in my field of work so to realize the vision of each film.
Preparation is also essential: Location scouting, assessing the particular requirements of each project, acoustic treatments, choosing and preparation of the appropriate equipment.
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For capturing each scene flawlessly, and according to its particular demands, I have a range of methods in my disposal which I use accordingly from simple occasions to more elaborate contexts.
One or more boom mics, wireless microphones attached to the actors, other assorted microphones hidden in the film sets, Stereo sound recording techniques, playback and so on.
Every sound source is recorded in separate isolated tracks in order to be optimally processed during post-production. At the same time, next to the multi-track recording, I mix down all sources to a single track in order to capture the sense of each scene for the director’s and the related departments’ reference during on-set production.
I prepare another single-track mixdown for the editing process so that the editors will not need to go through all the recorded tracks to recompose the audio imprint of each sequence.
The study and passion for sound along with experience and everyday engagement in my field of work have allowed me to seek for the best possible detail and quality, combining it with discretion, flexibility, consistency and speed during filming.
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