154 episodes of Blippi and season one of Meekah, cut and mixed in Brazilian Portuguese and Latin American Spanish — over 300 finished versions, credited on screen, delivered right up to the point the property moved to Warner Bros. Discovery. Most of them arrived without a usable music-and-effects stem, so the world underneath the dialogue had to be rebuilt before it could be mixed. That is still the job I am best at.
Cleaned, levelled, sat in the picture, delivered to your spec. 48 kHz throughout, stems on request. This is the floor a returning client already paid for this exact scope.
When the original creator's clean stems do not exist, the background is rebuilt — spot effects, ambience, foley — so the dub does not play over silence. Most vendors decline this.
Built from nothing, for film, series, and generated footage that arrives silent.
Bad room, clipped source, a location track nobody thought would matter. I listen before I invoice — if it is unrecoverable I say so and charge nothing.
Most of my post work is covered by client agreements. These are not — they are published, buyable, and you can hear my hands on them right now.
No music composition and no mastering for release. No theatrical 5.1 dub-stage mixing — I have not done it, and for a theatrical premiere you should hire a stage. No quoting a rescue job unheard, and no promises about source separation: it is not magic, and I audition the material before I put a number on it. Rates above are floors, quoted as "from", for direct clients. Volume and season commitments go lower per minute; marketplace bookings are quoted separately to cover the platform's cut. Rush is +30%. One revision pass included.
If it can be saved I will tell you how. If it cannot, I will tell you that instead — and it costs you nothing to find out.
