Perfect sound is something you can feel rather than describe. This resonates through all aspects of our work, whether it’s creating tense atmospheres for feature films or creating the perfect mix for TV and commercial work.

Recent Projects / ALL PROJECTS

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.

  Sound facilities

Foley

Foley is the art of creating sounds that make the experience more real for the audience. We create the little sounds of clothes, furniture and footsteps to make the picture come alive.

Sound design

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.

Sound editing

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

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.

V/O

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.

Mastering

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

Sound Team

  • Patrick Drummond

    Sound 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!

  • Colm Mullally

    Sound 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.

  • Aza Hand

    Sound 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'.

  • Katie O Mahony

    Assistant Sound Editor

    Katie developed her accoustic sensibilites 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.

  • Colm Finnegan

    Assistant Sound Editor

    After graduating from Pulse college, Colm joined the EGG team in November 2015. A love of music production and film drew him to the field of audio post production and eventually to the role of assistant sound editor.

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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
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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 noise

Hollywood Reporter
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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