Frequently Asked Questions

Common questions about audio post production services, workflow, delivery standards, and credits. Have a question that isn't covered here? Get in touch.

Do you work remotely with film and TV productions outside Canada?

Yes. All work is delivered digitally via secure file transfer. Clients across the US, UK, and internationally rely on this service for film, TV, streaming, and game projects. Pro Tools and Nuendo sessions, AAF/OMF/XML exchanges, and remote ADR via Source-Connect are all standard.

What audio post production services do you offer?

Full-service audio post production: dialogue editing, ADR supervision, sound effects editing, sound design, Foley editing, background sound editing, and final mix. Specialized in film, television, streaming, and AAA game projects.

What credits and awards do you have?

2025 DGC Award nominee for Best Sound Editing on Out Standing. Previous nominations include G.A.N.G. and Canadian Screen Awards. Credits include Schitt's Creek (Emmy-winning CBC/Netflix series), The Summer I Turned Pretty (Amazon Prime), Far Cry 5 and Starlink: Battle for Atlas (Ubisoft), and Air Crash Investigation (Discovery).

What software and deliverable formats do you support?

Pro Tools and Nuendo are the primary DAWs. Deliverables include stereo, 5.1, 7.1, and stem mixes, with LUFS compliance for broadcast (-23 LUFS EBU R128), streaming (-14 LUFS), and podcast (-16 LUFS) targets.

What is dialogue editing in film and TV production?

Dialogue editing is the process of cleaning, synchronizing, and refining all spoken audio in a film or television production. This includes removing unwanted noise, fixing timing issues, smoothing edits between takes, and integrating ADR (Automated Dialogue Replacement) recordings. A dialogue editor ensures every line of dialogue is clean, consistent, and seamless in the final mix.

What LUFS levels are required for streaming platforms?

LUFS targets vary by platform. Netflix requires -27 LKFS integrated (±2, dialogue-gated) with a -2 dBTP true-peak ceiling; Spotify targets -14 LUFS integrated with a -2 dBTP true peak; Apple Music normalizes to -16 LUFS integrated with -1 dBTP true peak; EBU R128 broadcast is -23 LUFS integrated with -1 dBTP true peak.

Integrated loudness (LUFS/LKFS) is a time-averaged program measurement; true peak (dBTP) is a separate instantaneous inter-sample peak — they are not interchangeable. Proper compliance on both axes ensures consistent playback across platforms and avoids automatic level reduction.

What is ADR and when is it needed?

ADR (Automated Dialogue Replacement, also called looping) is the process of re-recording dialogue in a controlled studio environment to replace unusable production audio. It's needed when location audio is too noisy, performances need adjustment, or lines must be changed in post. ADR supervision involves directing actors through Source-Connect or in-studio sessions, then editing the replacement recordings to match picture perfectly.

Do you offer ADR recording, supervision, and integration services?

Yes. ADR (Automated Dialogue Replacement) services include session prep, actor supervision, remote recording via Source-Connect, and full integration into your Pro Tools session. ADR work spans scripted drama, comedy, animation, and documentary productions. All ADR delivery meets broadcast or streaming technical specifications.

How long does audio post production take?

Timelines depend on project length and complexity. A 30-minute TV episode typically requires 3–5 days for dialogue editing, 2–3 days for sound design and effects, and 1–2 days for final mix. Feature films generally need 4–8 weeks for the full post sound pipeline. Rush schedules are available. Contact for a specific quote based on your script and delivery requirements.

What was your role on Schitt's Creek?

As First Assistant Sound Editor on Schitt's Creek (CBC/Netflix), work included dialogue editing, ADR coordination, and production audio cleanup using iZotope RX on the Emmy Award-winning comedy series.

Can you handle audio post production for documentary and factual productions?

Yes. Documentary audio post is a specialty. Credits include Air Crash Investigation (Mayday) — 37 episodes for Discovery Channel — and Wild Things with Dominic Monaghan (BBC America). Documentary work requires archival audio restoration, interview dialogue cleanup, and matching diverse source material (field recordings, archival news footage, narrator VO) into a cohesive mix. iZotope RX is used extensively for spectral repair and noise reduction on archival sources.

What major productions have you worked on?

Major credits include Schitt's Creek (CBC/Netflix, Emmy Award-winning series), The Summer I Turned Pretty (Amazon Prime Video), Air Crash Investigation (Discovery Channel/National Geographic), Far Cry 5 and Starlink: Battle for Atlas (Ubisoft AAA games), and Out Standing (2025 DGC Award nominee for Best Sound Editing). Full credits available on IMDB.

What is scripted podcast sound design, and how does it differ from standard podcast production?

Scripted podcast sound design is a full audio post-production process applied to narrative, story-driven podcasts and audio dramas. Unlike standard podcast production — which typically involves noise reduction, EQ, and loudness normalization for interview or talk formats — scripted productions require a cinematic treatment: dialogue editing with production noise cleanup (iZotope RX), layered ambient sound design, custom sound effects editing, and a fully immersive mix. The goal is to place listeners inside the scene rather than in a recording booth.

Typical deliverables include stereo mixes at -16 LUFS integrated / -1 dBTP true peak for Apple Podcasts and -14 LUFS integrated / -2 dBTP true peak for Spotify, plus binaural mixes and stems for international distribution or platform-specific versions. Productions range from short-form serial fiction to full-length audio dramas.

How does dialogue editing for video games differ from film and television?

Game dialogue editing shares core techniques with film and TV — clean recordings, consistent performance levels, natural-sounding edits — but the structure is fundamentally different. Game dialogue is non-linear: every voiced line must work as a self-contained clip because the game engine plays them dynamically based on player choices, not in a fixed sequence. This means individual WAV files (typically 16-bit 48 kHz, mono or stereo), consistent loudness across the entire voice cast (usually -18 to -20 dBFS RMS), clean tails with no bleed, and delivery of potentially thousands of assets rather than a single continuous audio track. Integration into Wwise or FMOD audio middleware is often part of the process.

Cinematic sequences within games are closer to traditional film post — edited to picture in Pro Tools or Nuendo, with full music, dialogue, and effects passes. Credits include Far Cry 5 and Starlink: Battle for Atlas (Ubisoft), delivering dialogue editing, mixing, and asset integration for AAA releases.

What information do I need to provide to request a quote for audio post production?

Use the contact form at joshvamos.com with: the project title and type (film, TV episode, documentary, podcast, or game cinematic), total duration or episode count and average runtime, your delivery deadline, and the required deliverable format (stereo mix, 5.1, 7.1, stems, or individual WAV assets for game integration). Rush timelines and accelerated schedules are available — include your locked-picture date if applicable.

A quote is typically provided within one business day. Once confirmed, you’ll receive a session prep checklist for packaging your Pro Tools session or OMF/AAF export for handoff. Final delivery includes rendered audio files in your specified format plus the working Pro Tools session, meeting broadcast (EBU R128 / ATSC A/85), streaming (Netflix, Apple TV+, Spotify), or platform-specific loudness specifications.

What is the difference between a sound editor and a re-recording mixer?

A sound editor assembles and prepares the individual elements of a soundtrack — dialogue tracks, ADR, sound effects, Foley, and backgrounds — cleaning and shaping the raw material before it reaches the mixing stage. A re-recording mixer (also called a dubbing mixer) receives those prepared stems and makes the final balance decisions: EQ, dynamics, spatial placement, and level riding across all elements in a calibrated mixing environment.

On broadcast, streaming, and studio feature productions these are typically separate specialists; on lower-budget independent films and short-form projects a single person often handles both editing and mixing. The sound editing phase is where dialogue cleanup (iZotope RX noise reduction, cut-matching, ADR integration) and sound design assembly happens. The mix is where the emotional arc of the soundtrack is shaped against picture.

My primary role is on the editing side — dialogue editing, ADR supervision, sound effects editing, and sound design — though final mixing is available for episodic television, independent films, and short-form content.

Do you have Source-Connect for remote ADR recording and supervision?

Yes. Source-Connect is available for real-time remote ADR sessions. Source-Connect enables near-lossless audio transmission at 24-bit/48 kHz between any two connected Pro Tools or Nuendo rigs, allowing an actor recording at a remote studio to work directly with the session as though they were in the same room — with synchronized picture reference and timecode lock included.

For a remote ADR session, the actor needs a Source-Connect Standard or Pro-equipped facility on their end. Typical broadband speeds of 5 Mbps or higher are sufficient for uninterrupted 24-bit sessions — no ISDN line is required. Source-Connect is compatible with most professional recording studios worldwide. If a remote facility is not Source-Connect-equipped, coordination via a compensated audio feed or alternative remote recording method is also available.

How do I hire a dialogue editor for a film or TV production?

When hiring a dialogue editor, check their IMDB credits to confirm experience on projects comparable to yours — scripted drama, documentary, and game credits each require different skill sets. Ask about their iZotope RX workflow for problem recordings, since virtually every production has difficult location audio that needs spectral repair or noise reduction. Verify they work in your required deliverable format: Pro Tools is the industry standard for broadcast and streaming, though Nuendo is also common.

Confirm their availability window before your locked-picture date and ask for a turnaround estimate based on your episode count or runtime. The session handoff typically works via an AAF or OMF export from your editor's NLE (Premiere, Avid, DaVinci Resolve) into Pro Tools — a good dialogue editor will provide a prep checklist so the transfer is clean. For remote ADR, ask whether they support Source-Connect and can accept OMF, AAF, or XML from your particular finishing system. Use the contact form to discuss your project timeline and get a quote.

Can you do sound effects editing and sound design in addition to dialogue editing?

Yes. Sound effects editing and sound design are available alongside dialogue editing, as part of a full-service audio post pipeline or as standalone engagements.

Sound effects editing involves selecting, placing, and synchronizing library and custom effects — including hard SFX, background ambiences, and transitions — built against picture in Pro Tools or Nuendo. Sound design is the creative layer: original textures, signature atmosphere, and designed sounds crafted for a project’s specific world.

Credits spanning scripted drama (Schitt’s Creek, CBC/Netflix), documentary series (Air Crash Investigation, Discovery), and AAA games (Far Cry 5, Starlink: Battle for Atlas) include sound effects and design work alongside dialogue editing. For game projects, asset delivery in individual WAV files formatted for Wwise or FMOD integration is standard. Contact with your project type to discuss scope and availability.

Do you work as a freelance sound editor available for individual productions?

All work is taken on a freelance, project-by-project basis — no retainer, exclusivity, or minimum contract is required. Productions can engage for a single episode, a feature film, a full series run, or an individual task (dialogue editing, ADR supervision, or final mix).

This is the standard working model for audio post production specialists in Canada and internationally: most sound editors and dialogue editors work as freelancers contracted per production rather than as staff employees of a single facility. Availability is confirmed before work begins, and all deliverables are included in the agreed scope — edited Pro Tools or Nuendo sessions, rendered mixes in your required format, and LUFS-compliant files meeting broadcast or streaming specifications. Use the contact form to check availability for your project and timeline.