Having the best technology coupled with engineers that live and breathe sound is how we produce our amazing sound design. Head on over to our Facilities page to have a poke around our studios.
They say that you watch half a film with your eyes and the other half with your ears. No one believe this more than our sound designers. Crafting soundscapes to evoke emotion and reflect mood within scenes is the heart of what we do.
Taking the original sound recording from the set, our sound editors use a variety of methods to make the dialogue more understandable. They blend elements smoothly together, creating believable sounds for everything the audience sees on screen.
ADR or ‘Automatic Dialogue Replacement’ is used when the set audio is for some reason unusable. An actor re-records lines in the studio in synchronisation with the picture.
We record voice over for TV, radio ads and theatrical trailers. It can also be used as a storytelling device to help audiences understand the continuity from scene to scene.
Where all the sound elements of the project come together and are matched with the final grade. Our engineers balance all of these elements so that they sit perfectly within the soundscape they created
Patrick DrummondSound Supervisor
Patrick joined Egg after a career spanning 20 years in Hollywood working with some of the best directors in the industry: James Brooks, Warren Beatty, and Cameron Crowe to name a few. He is our very own slice of Hollywood!
Aza HandSound Designer
Since joining EGG, Aza has designed and mixed numerous features and TV programes. He was awarded an IFTA for Best Sound for 'The Writing In The Sky' and an MPSE Golden Reel Award for 'Game Of Thrones', received a 2015 IFTA nomination for Best Sound for 'The Canal'.
Colm MullallySound Editor / Dubbing Mixer
Colm began working at Egg back in late 2012 bringing his enthusiasm, passion and love of chequered shirts to the company. Since then he has worked in all aspects of post sound from FX to Music to Dialogue.
Katie O MahonySound Editor
Katie developed her acoustic sensibilities at a very young age banging pots and pans on the kitchen floor. Thankfully her interests developed into Electroacoustic Composition, spawned from her love of sound design, particularly in sci-fi films and electronic music.
Kavanagh hardly sees fit to rely on old-school techniques to generate suspense, amping up the tension via jump cuts, red-lit interiors and a meticulously engineered soundscape that makes sparing yet effective use of eerie tones and spine-tingling scratching noises.Variety
Kavanagh, Hill and their sound design team push their skills to experimental extremes here with shuddering jump cuts, subliminal single-frame edits and blood-curdling offscreen noiseHollywood Reporter
It is without a doubt that the sound gives this film an extra layer of texture that lifts it above its competition this Halloween season. Upping the creepy factor to 11, the sound designers created chills that I never expected and gave additional life to this film.Reel News Daily