About
I make sound for film. Doing that work exposed dozens of problems that haven't been solved in decades. So I started building the tools I wanted to use myself. Some became open source. Some became products. All of them exist to help editors work faster without replacing the creative part of the job.
Where I stand
The tools I build automate the repetitive parts of the job: deciphering metadata, searching libraries, spotting to Pro Tools. They never generate sound.
I work with real recorded sound — finding it, layering it, building new sounds out of real ones — and I think provenance matters: if a sound is generated, everyone should know.
The craft is the point. The tools exist to protect the time you spend on it.
In one paragraph
I'm a working film sound editor who builds software for post-audio. Most of my projects automate the repetitive parts of editorial so editors can spend more time designing sound. I believe the future isn't replacing sound designers — it's giving them better tools.