I recorded my first sound 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 never leave my little Lansay audio recorder and captured 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 various 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 so I moved to Paris to obtain a degree in sound engineering from the ISTS. 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”. With him and his talented crew, I learned the fundamentals of location sound and gained experience besides 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 a 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 that was presented at GDC in 2011 and that got almost 2 million views on youtube so far. 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) for about a year, not long before the studio shut down. So I finally moved to California to take the role of sr. sound designer at Double Helix Games and got in charge of the audio production of Killer Instinct on Xbox One.