Auckland · New Zealand
Sound design, dialogue editing, and mix
for New Zealand film and television.
Twenty years of craft in service of your story.
Production dialogue editing, noise reduction, and restoration. When the performance is irreplaceable, the processing must be invisible. ADR supervision and session preparation for principal and loop group recording.
Environments, Foley, and effects built from the world of the film. From the lived-in texture of a room to the signature sound of a machine — every detail in service of the narrative.
5.1 theatrical and stereo broadcast finishing. Compliant delivery to NZFC, NZ On Air, and international broadcast specifications. Pro Tools Ultimate in a purpose-built post facility.
| Production | Year | Role | Facility / Company | |
|---|---|---|---|---|
| Lockerbie: A Search for Truth | 2025 | ADR Recording Engineer | Peacock (US) / Sky Atlantic (UK) | |
| The Survivors | 2025 | ADR Recording Engineer | Netflix | |
| Deadloch — Series 2 | 2025 | ADR Recording Engineer | Amazon Prime Video | |
| Heartbreak High — Series 3 | 2025 | ADR Recording Engineer | Netflix | |
| Mārama | 2025 | Foley Editor | Dark Sky Films | TIFF 2025 |
| The Brokenwood Mysteries — Series 12 | 2025–26 | Sound Designer | Acorn TV / Images & Sound | |
| The Brokenwood Mysteries — Series 11 | 2024–25 | Foley Recording & Edit | Acorn TV / Images & Sound | |
| Friends Like Her — Series 1 | 2023 | Foley Editor | Netflix / Warner Bros. Discovery | |
| My Life is Murder — Series 3 | 2023 | Foley Recording & Edit | Acorn TV / TVNZ | |
| Saved From A Shark | 2022 | Re-recording Mixer | Disney+ / National Geographic | |
| Panda & Kiwi — Series 1 | 2019–22 | Re-recording Mixer, Sound Designer, Foley Artist & Editor, ADR Recording Engineer, Dialogue Editor | CCTVA / Jetpack Distribution | |
| Shortland Street | 2008–12 | Foley Recording & Sound Design | TVNZ | 1,100+ episodes |
I get inside your head. I become you. I know your fears, your desires, your insecurities — how your father loved you, or your mother ignored you — and I make the audience feel your soul.
That’s not a metaphor. Trained as an actor, with a Bachelor of Performing and Screen Arts, I don’t approach a project as an engineer. I approach it as a performer. I become the story. I inhabit its characters. And then I find the sounds that make an audience feel what you felt when you first imagined it.
Twenty years of that. From Auckland, New Zealand, to Netflix, Peacock, BBC, Prime Video — and every short film that deserved the same devotion.