Tell us a bit about your company, FX² Sound Design. Well, I’m coming up on my 30th year anniversary as a working pro. So fortunate to still be around. Was a company man tied to a studio for 17 years until I branched out on my own. At that time, many studios were at about 40% capacity, so building yet another studio didn’t make sense. During all that time I had amassed a large networking circle, so I had an idea of creating a company that could use the existing infrastructure along with my circle of freelance editors. The test company was “BombshelterPost,” which ran from 2009 – 2013. It ended up being successful so I rebranded to “FX² SoundDesign” and incorporated. There’s the history lesson. FX² can handle anything to do with audio. Post Production, Commercials, Gaming Audio, Recordings, we’ve even done a Musical Recording. My background comes from music, my dad was a music professor at McGill in Montreal.
How many staff members / freelancers do you employ? What makes your company different? The advantage of FX² is that it isn’t tied to a facility. I have an extensive network of skilled freelance editors, spanning from right here in BC to Toronto to the US and aboard. We can always find a skilled editor with a pool to pick from this huge. The same is true when looking for a mix room. There are many infrastructures available, all not running at full capacity, with different setups or mixing options. I love the fact that I can choose where to mix a certain project based on which mix
What are the typical projects you work on? Every year the primary changes. The last 2 years, the primary has been movies, both theatrical and streaming. With series and gaming work filling in the gaps.
What are you working on right now? We just finished a movie for Neill Blomkamp and IFC called “Demonic.” It was a challenging and very creative movie from a sound design perspective.
What is your favourite project that you've worked on, and why? There’s no one project. Any project that's heavily creative by its design is always fun. Any project that's ambitious, pushing you, is both exciting and stressful. Any project that's problematic, you tap into your experience and rely on your instincts. It’s all a bag of mixed emotions. But once you get to the end goal, it’s all rewarding in its own way.
What percentage of your work is with local vs international clients/projects? Over the last couple of years I’d say, 70% local and 30% international.
Are you a Mac / PC / Linux shop or all of the above? Definitely a Mac guy -- Mac products for my profession, PC for the accounting / business side and video conferencing software.
Describe your studio setup My studio is a 7.1 or 7.1.2 Atmos Studio (able to hang height speakers when in Atmos mode). Running 3 Samsung monitors, with one dedicated to picture. Front LCR speakers are Mackie HR824MK2 Active Studio Monitors, very flat speakers with no color, which is what I was looking for. Surround & Sub speakers are Yamaha. Also have stereo Auratone speakers for TV reference. Using AVID hardware at the moment, but looking to upgrade to Orion interfaces. Love motorized faders, so using the Avid S3 currently. And lastly in the 7.1 mode, I use a Martin MultiMAX for monitoring, which has been modded for 7.1.
What software / hardware / plugins can you not live without? In terms of Editing and Mixing software, I use the PRO TOOLS DAW. I have a separate rig for Sound Design, running Native Instruments Hardware with REAPER DAW. Plugins, that’s a long discussion. I have a huge selection of plugins that I like for certain things or different colors. I’ve spent a lot of money on plugins, my guilty pleasure and a throwback to the days of having lots of outboard gear. Plugins I can’t live without, uhmmm, what comes to mind? Blue Cat Meter, anything Fabfilter, Izotope Rx, AudioEase Altiverb are mains. Some lesser known plugins that are great, Sooth and Black Box PA. A great sound designing plugin, Envy from Cargo Cult and Manipulator from Infected Mushroom. That’s just a quick off the top of my head answer, there are many great plugins nowadays. Third Party software I always use is Soundminer with Radium.
Are Dolby Atmos / Dolby Vision capabilities something you have or are looking into? In my studio, I can go Dolby Atmos if I need to. I don’t keep it setup in Atmos cause I like working in 7.1 -- fewer issues with routing and fewer software programs open like the Render. If I don’t have to deliver in Atmos, then take that issue off the table.
How difficult has the pandemic been for day to day operations? For FX², it’s been business as usual. 2020 was one of our busiest years. Since FX² is structured around the management of freelance workers, our workflow was never impeded. We were also the first to successfully temp mix a 5.1 movie fully remotely, with the dial mixer in his studio, the sfx mixer in his studio and the Director at another studio. Running a live 5.1 mix in sync. Impossible you say? ☺
Any workflow improvements brought about by the need to work-from-home / remote work changes? FX² was already in that realm, working & managing editors remotely, so nothing new there, if anything we had it dialed in. But where improvements got pushed forward was in video conferencing or video screening options. Many options started to emerge, with production companies settling on a system for final viewing that ultimately was adopted and implemented into their workflow. With traveling to and from a studio eating upwards of 90 minutes or juggling multiple producer schedules to get them all in one room at a specific time, I think the landscape has changed. The fact that we were able to make remote viewing work and more convenient for everyone, I don’t see us going back to the way we were. Factor in that the tech is going to get better and faster with little lag etc… Why would you go back?
What do you miss most about “in person” client sessions? A lot of my clients are close friends. So when we’re in the studio together, we’re not talking about the project at hand, but about family and stuff, catching up. Just joshing and laughing, connecting with people. That’s going to be the hard part. With new clients, it’s even more difficult. You can’t read the body language, the comfort zone, their apprehension if they have some. In that case, it won’t be ideal.
What’s the best advice you received starting out in industry? I started in the stone age. The only advice I got was “Don’t screw up.” It’s different today. But I do remember what one senior engineer told me when I was starting out, and it stuck with me: “I can teach you everything I know, but it won’t make you better.” Seems harsh at first, till you understand what he meant. Took me 15 years into my career till I got it. He wasn’t talking about your intellect. He was referring to experience and your ear maturity. Time is your friend and your enemy. Unfortunately, it just takes time, lots of time, for your ear to become refined and start to hear compression or subtle Eq changes. It’s adapting or going through training, if you will, on every job you’ll work on. Your ear over time becomes selective on what you perceive as sounding great. As you're learning how to better use the tools at hand through the experiences you're presented with, so are your ears going through the same journey. So the message is, just work on anything that can further your experience and your ear training.
How long have you been a VPA member? What would you like to see from the VPA? I believe since 2014. The VPA has a unique opportunity to educate or lead discussions on how it can help support the growth of the Film and TV production industry in BC. I believe there has to be a shift in the way business is conducted when it comes to post production in BC, in terms of representation, pay equity and responsibility. The model we currently have in place is slowly killing our industry. It’s going to take brave new people with a different approach to turn our slumping industry around. You have no future growth if you can’t mentor the next generation.
Cindy Au Yeung is a Chinese-Canadian editor and filmmaker based in Vancouver, BC. She has worked in post production for the past 7 years and has been a 1st Assistant Editor on various documentaries such as I AM JOHNNY CASH and scripted television series such as DATE MY DAD, HIT THE ROAD, LOUDERMILK S3, and DAY OF THE DEAD.
Most recently, she has edited an APTN Lumi webseries SHADOW OF THE ROUGAROU, produced and edited a stand-up comedy series COMEDY INVASION, and is currently editing her first feature-length film, JONAH. On the side, Cindy also makes her own documentaries involved with #Elimin8hate, an organization dedicated to eliminating anti-Asian racism through the power of film, arts, and media. Nevertheless, documentaries will always remain as Cindy’s first love into filmmaking!
Originally from Nova Scotia, Gregor moved west with music as his main passion.
Following a BA in jazz studies from Capilano University, playing and touring with bands segued into composing which eventually lead to an interest in sound design and post production for film.
In 2010 Gregor started Cinescope Sound, a boutique facility that serviced a broad array of feature films, TV series and documentaries.
In 2020 his company merged with Bionic Audio to form Maverick Post Group, a new facility built from the ground up to serve the needs of the Vancouver industry and beyond.
As a re-recording mixer and supervising sound editor Gregor is also involved in the day to day operations of running a full service post facility.
Vancouver has an incredible wealth of talent and Gregor welcomes the opportunity to play a role in advocating for this community as we continue to grow and push for new opportunities.
Caleb is a composer and musician. With an aptitude to create music that reaches diverse audiences, his range of work spans from independent projects and short films, to televised series and theatrical features. Frequently writing with his brother Brian, their work has been featured on many notable animated and live-action projects, including recent series with DreamWorks and Netflix.
Caleb has called Vancouver home since immigrating from Hong Kong in 1997 and holds a Master of Music Composition degree from the University of Toronto. He is pleased to join the VPA board to serve the growing industry in the city.
A native Canadian with an early interest in television, Keri began her career as a PA on the sets of productions shooting in Vancouver. Connecting with Spike & Mike’s Festival of Animation led to a focus in animation, and a move to Los Angeles, where she landed on the pilot of The Simpsons and began a diverse career in producing and supervising post production and visual effects. With over 200 hours of network and cable television credits, career highlights include four seasons of Ugly Betty, The Outer Limits, 12 Monkeys, The Crossing, and more recently Ted Lasso and Big Sky.
Keri has developed many relationships working both on the creative and technical side of production and post, and is happiest when connecting talented people with others who share her passion for storytelling. She recently settled back home in Vancouver with her daughter Emelia, and joined the exceptional team of artists at Barnstorm Visual Effects.
Keri is a proud member of the Vancouver Post Alliance Board, Women in Animation, The Producers Guild of America, The Leo Awards Board, The Visual Effects Society and the Animation & VFX Alliance of BC.
Don’s Post Production experience includes work as a Facility Owner/Executive, Post Supervisor and Editor for over 30 years with Finale Post (Picture Shop Vancouver) and its related companies. His credits include a wide range of feature, television, commercials, music videos, and cutting-edge documentaries.
He is actively involved in the Production and Post Production community in Vancouver, and frequently travels to LA for industry relations, marketing and sales initiatives with the major studios, networks and production companies.
Don currently sits on the Board of the Motion Picture Production Industry Association (MPPIA), the Motion Picture Arts & Sciences Foundation of British Columbia (Leo Awards), is a Founding Director of the Vancouver Post Alliance (VPA), Founder of the Vancouver Creative Lounge, and past Chair of the Whistler Film Festival.
He is also proud of the recent work he is doing as a member of the BC Motion Picture Industry COVID-19 Best Practices Coalition and as Chair of the BC Post Production Health & Safety Task Force.
Don is passionate about seeing Vancouver’s post production community reach its full potential, and looks forward to continuing to contribute to the success of its workforce and facilities.
Michelle has been working in Vancouver’s Post Production division for the past 18+ years. She started her career working in Master Control at a local television network which threw her into the fast-paced live on-air world. After 8 years she moved onto Senior Project Management at Finale Post (Pictureshop Vancouver) and Encore (Company 3). She is currently working on the client side as a Post Coordinator/Supervisor.
Michelle prides herself on her strong work ethic and excellent management skills. This array of roles has given her a top down view of her surroundings and allows her to work in all departments of a post-productions pipeline.
Michelle’s passion is raising her 4 year old son and seeing the world through his eyes.
Buket is a Post Coordinator/Supervisor who draws on her experience from working across multiple departments of Post Production for over 15 years.
Her interest in post started in the first year of university, when she followed her passion in picture and sound editing as well as post supervising. After freelancing and managing an award-winning sound studio in her hometown of Istanbul, she moved to Vancouver in 2013, where she has since worked on a wide range of projects both in management and editorial teams. Her most recent work is the first season of Snowpiercer.
Buket’s journey with the VPA began in 2015 when she volunteered for the Events Committee and joined the VPA board in 2018. During her time as a director, she continued to work with events, support the Membership Committee, and was an integral forming member of the Mentorship Committee as well as the Diversity and Inclusion Committee.
Buket understands that the VPA provides a much-needed platform for our community to stay connected. As our growing community is becoming more and more diverse every day, she believes it is important to create equal opportunities for all genders, ages, ethnicities and abilities. She has a passion for promoting engagement with a more diverse community and giving voice to those who deserve greater representation.
Kelsy Wittmann has spent the past 20 years immersed in the film and television industry. She has had the privilege of working across the broad spectrum our industry has to offer; as a producer for live action, animation, and VFX projects. She is proud to have collaborated with clients such as Netflix, Marvel, EA, HBO, Paramount, and the local Atomic Cartoons. Her credit list includes high profile film projects such as Guardians of the Galaxy 2, Fast & Furious 7, 50 Shades of Grey and TV favourites such as Johnny Test, The Mist, The Order S2, and Wu Assassins. She is currently working hard at Animism Studios; where she is the Head of Production. Kelsy is a proud enabler of creative talent and technical innovators.
When Trevor isn’t finding the magic in film footage from other film projects, he’s filming his own. Trevor is an award winning filmmaker who has vast editing experience in both feature films and television. He continues to shape his editing style through genre, action and drama films. Wherever you are located, Trevor can execute your project while keeping collaboration intact. Among his many career highlights Trevor has worked with editor Dede Allen (Breakfast Club, Dog Day Afternoon, Bonnie and Clyde). In addition to working on the membership committee with the Vancouver Post Alliance, Trevor also serves as the British Columbia chair for CCE (Canadian Cinema Editors).
A native of Toronto, Sabrina moved out to Vancouver to attend UBC’s film production program. After earning her BFA, she landed her first job in the industry working in Post Production back in 2006 and has since risen to become an established, award-winning Picture Editor within the film community.
When she’s not glued to her computer, she sidelines as a voice actor for cartoons as well!
Kerry McDowall has been involved in Vancouver’s post-production sector for almost 20 years, working closely with Netflix, Disney, CBC, AMC Studios and NBCUniversal. As an Associate Producer, she leads post production departments on both series television and feature length movies, overseeing everything from budgets to final deliveries (and everything that occurs in between).
She currently dedicates her time and energy at the VPA to uniting and promoting our talented post production community and advocating for equity and inclusion in the broader film industry.
Eli started his sound career at an independent radio station in Istanbul and forged an international career in audio post-production over a decade. He has been honoured with 5 awards and 4 nominations. He worked as a Supervising Sound Editor and Re-Recording Mixer on films that screened at international film festivals such as Cannes, Venice, Berlinale, Montreal, SXSW, and Sitges International Film Festival.
Eli holds a Diploma in Sound Engineering from SAE Sound Engineering School and a Master’s Degree in Sound Technologies from Bahcesehir University.
Besides his sound experience, he has been a part of grassroots organizations and advocacy groups about human rights and climate change for more than 15 years. He is the co-founder of a platform that aims to combat anti-Semitism. He believes in the importance of a collaborative community and has been volunteering with the VPA for 3 years.