I started recording sounds when I was about 8 years old. My dad would take me to the rallies and air shows of my home town in the North-East of France and I would always bring with me my little Lansay audio recorder and capture the cars and the jets going by. As a young adult, I continued developing my ears by playing with my analog synthesizers and composing songs for student films. By that time, I was learning multimedia and computer science and I got an internship in a radio studio in Montbéliard to design their new website and database. Being in the studio made me discover a potential career in sound and I decided after graduating to obtain another degree in Sound Engineering.
I spent two years learning the theory and an additional year specialized in audio post-production at the ISTS in Paris. When I wasn’t studying, I was working as a sound engineer for a dubbing company called Cinekita that specialized in lip synchronization of foreign TV programs such as BBC’s “Big Cat Diary” and NBC’s “The Biggest Loser”. I was amazed by the quality of the BBC programs so I got an internship at Heavy-Entertainment the following summer. This London based post-production studio principally produced audiobooks for the BBC and I learned how to record famous talents and edit their voice in order to create top-notch audio storytelling. I took advantage of being in England to contact production sound mixer Stuart Wilson, who invited me to the set of “Harry Potter and the Half-Blood Prince” where I eventually served as second boom operator and gained experience with prestigious actors such as Ralph Fiennes and Daniel Radcliffe. I was looking to do a final internship overseas and Keystone Entertainment asked me to join their audio team in Vancouver, BC to work on their successful Air Buddies franchise. This internship quickly became a great career opportunity. I worked there for two and a half years as a sound engineer and sound editor on several feature films including “Santa Buddies”, “The search for Santa Paws”, “Spooky Buddies” and “Treasure Buddies” as well as independent movies like “Fireball” and “MachoTailDrop”.
While working in films, I created this blog to share my audio experiments and discoveries with the audio community and it led me to become an active member of the G.A.N.G. and the IGDA. It also helped me to get in touch with renowned Audio Director Zak Belica at Epic Games, who asked me to work on the Samaritan Unreal 3 tech demo launched at GDC 11. Shortly after this, I designed all sorts of crazy sounds for the underwater level of blockbuster “Gears of War 3“. Then Dorian Pareis, who happened to be Audio Lead at Ubisoft Vancouver, contacted me and gave me the opportunity to work on “Motionsports Adrenaline” (Xbox Kinect & Ps3 Move) and Sport Connections (Wii-U). More recently, I accepted an offer from Double Helix in Irvine, California and I’m trhilled today to face tomorrow’s next challenges and bring Game Audio to the next level.