The sound design services I’m able to provide are such as sound engineering, sound editing, sound effects and post production. I’m able to create game sounds, movie sounds and sound art.
Teaser cut from footage I shot at TaigaMetsä camp in July 2010, organized by Kaleva Youth Association for their 50th anniversary. I worked as their media producer for a year.
Related videos include the TaigaStudio series, which I also filmed and edited.
The two-hour workshop, held as part of the Teatterilaiva theater festival, was aimed at theater staff. Through an informal discussion on the basic principles of sound design, the focus shifted to available technologies and digital sound processing. Participants created sounds and soundscapes using freely available software and sound libraries. The workshop sparked ideas for future productions.
The Finnish Aviation Museum organized Myyttinen Lento (Mythical Flight), an exhibition exploring flight-related myths and legends designed to spark the imagination of children and adults alike. A highlight was a magic carpet visitors could ride.
I collaborated with Marko Ahokangas from the Theatre Academy of Finland’s Lighting and Sound Design department – he created the sounds, while I programmed the sound player. Using Plogue Bidule, we crafted a continuously evolving, never-repeating eight-channel soundscape that filled the exhibition space.
Spatial audio was managed via four independent eight-channel linear output selectors, modulated by sine wave oscillators, dividing sounds into fast and slow categories controlled by separate sub-programs.
A synthesized wind-like instrument formed a musical layer, dynamically tuning its pitch (via FFT) to frequencies extracted from other sounds – e.g., matching airplane sounds to produce harmonious tones.
Presented here is a two-channel sample of the final soundscape.
Muutos is a traditional Christian indie feature film that I contributed to in multiple roles. I worked as a sound recordist on a few shoots, created ambient atmospheres, and handled aspects of the overall sound design.
Volume automation was applied to even out the dialogue dynamics, ensuring clarity and distinction. While not aiming for realism, this approach prioritizes a focused delivery of the message.
The music mix was tailored to support the dialogue, with the soundfield centered and reverbs intentionally darkened to avoid frequency masking.
I also served as recordist on several shoots and cleaned the recorded dialogue tracks, removing noise and disturbances from the raw footage.