This project was completed entirely remotely, with clients based in the U.S. and Scotland. Filming had already wrapped, and I was brought in just prior to picture lock to oversee the audio post-production stage.

I assembled a team that included a dialogue editor, re-recording mixer, foley recordist, foley tracklay editor, while I took on the roles of sound designer and dubbing mixer.

As a romantic comedy with strong comedic elements, the film required careful audio work to support comedic timing, emphasis, music and location realism. Dialogue was the top priority and needed to be flawless, so a significant amount of time was dedicated to achieving clarity and consistency.

Foley also played a crucial role and presented a major challenge, as much of the original production sound was unusable. Detailed foley work was therefore essential, while ambiences, environmental sounds, and sound design were carefully woven together with the film’s musical compositions to create a seamless final soundscape.