From 1986 to 1995 I worked in Los Angeles, in the Film and Video Post Production industry where I became a successful sound editor and sound designer. I also did a good amount of work as a Foley artist.

My experience at the cutting edge of music and audio recording technology during the early 1980's had put me in the right place at the right time as the Hollywood Studios began to go digital. In those days it took a lot of arcane knowledge and experience, as well as talent to do the work.

This was also a time of generational shift as very few people older than me at that time (in the movie business at least) knew anything about computers. In those days pc's were not a status symbol, much less a necessity (there was no world wide web). None of the studio Exec's used them. The only computers to be found on the lot were in the accounting department running crude spreadsheets on monitors that could only display green text. The first audio workstations, running DOS, and then early Windows OS crashed constantly. The technology improved incredibly rapidly though. Now, with super fast workstations with simple interfaces and huge networked sound libraries of pre made SFX, almost anyone can do the job. It still takes talent to make a movie sound great though.

I worked my way through a couple of smaller non-union TV post houses doing mostly animation, up to Warner, and then to Sony/Columbia where I worked on feature films. I think I had a fairly large impact on the Studios's progression to digital audio editing. I cut the first prime time TV show to go all digital using a Waveframe Digital Audio Workstation, the state of the art gear at that time.

I got 3 Golden Reel nominations, and it was the reel I cut for "Bram Stoker's Dracula" that went to the academy for the selection, and the winning of the Academy Award for Best SFX Editing.

Nearly ten years of my life!