Detail-oriented team player with strong organizational skills. Able to effectively manage multiple projects simultaneously while maintaining a high degree of accuracy. Known for reliability, focus, and pride in work.
Responsible for multiple Dub Stages (TV, Film), Archive, Audio Mastering to assure smooth technical operation and production. Calibrate Stages and prep for new mix, assist in workflows and trouble shooting any issues that may arise, teach and willing to help in any way.
Integral part of new construction of Dub 20, Avid S6, Silicon Macs for all rigs, Christie. Worked with trades, Supervised 40 shop, Dolby Atmos 3rd Gen RMU, Dadman, BSS, Dante. Rebuilt Booth and Mix tech area all on time and budget
Integral part of building the first Atmos Dub Stage in LA, Avid S5, Protools, RMU, Barco and Christie, Interconnect all studios for productive workflow. Built first Home theatre Atmos mixing room, Built DCP Mastering rooms.
Managed the Dolby Vine Location VIP screening room with Laser Projectors and Atmos, maintained as well. Supported the Oscars, Grammy's, HBO, Supported Atmos and Vision at Cinema Con(8yr). Installed Vision Projectors at the Dolby Theatre, TV Academy, Dolby Office. Integral part of wiring and installing 240+ Meyers speakers, 60 x 32 Harkness screen, Supervising Union crews.
DCP mastering, Clipster, San and Nas Storage, Doremi, show vault, Adjust light levels, alignment and shoot colors for the Laser projectors, Hired staff, payroll and bonuses.
And a ton of things in between.
Built, Maintained, 12 DVD Mastering rooms, Archive dept, Trained Mastering engineers in new technology, worked with vendors to assure we had the latest equipment to assure success. Won the Carrot award for performance, created workflows that are in still in use today.
In 2002 moved from WB Hollywood to Burbank, Built 15 Mastering rooms and a Massive central hub machine room remote all noised based gear, video servers, Supervised 40 shop in all wiring needs. 2009 WB decided to move the Mastering rooms to a new location, then rebuilt the 15 room and machine room to accommodate Music editorial. Remote all rigs to MR in Travel cases so they could take the rig with them and then park it back in the MR. Lots of things in between.