Film projector with blue light and audio waveform visualization on dark background

SOUND DESIGNER · NARRATIVE FILM

Sound, with intent.

Audio post-production for narrative film, streaming series, podcasts, and games. Recent work includes The Grove (2025) and Me Late Que Sí (2025). Based remotely. Working worldwide.

Watch the Reel View Selected Work →

1

Feature Film

6

Streaming Episodes

30

Podcast Episodes

2

Languages

What I deliver.

01

Sound Design

Custom soundscapes crafted to support narrative tone.

Films · Series

02

Dialogue Editing

Precise editing, noise reduction, and leveling.

All formats

03

Re-Recording Mix

Final mix balancing all elements to delivery standards.

Stereo · 5.1

04

Foley & SFX

Custom foley and sound effects with physicality and material truth.

Picture-locked

05

Podcast Production

Full-service including mixing and loudness mastering.

Episodes

06

Game Audio

SFX for indie games (Unity/Wwise). Character SFX, UI.

WAV delivery

01 — WHO I WORK WITH

The right fit.

I'm built for narrative work—projects where sound has to do real storytelling. Being honest about who I serve well helps you decide faster if we're a fit.

AFFIRMATIVE

I'm the right fit if...

  • You're directing or producing a narrative feature, short film, or streaming series.

  • You're an indie animation studio that needs full sound design and mix support for picture-locked work.

  • You're producing a narrative or branded podcast and need broadcast-spec mixing across episodes.

  • You're an indie game developer working in Unity or Wwise who needs character SFX, cinematics, or environmental audio.

  • You value craft, communication, and a sound partner who reads picture before quoting.

HONEST CHECK

I'm probably not if...

  • You need original music composition (I do music editing, not composition).

  • You need someone on-set capturing production sound.

  • Your project is a corporate explainer, training video, or commercial demo.

  • You consistently need 24-hour rush turnarounds without rush fees.

  • You're optimizing primarily for the lowest possible price.

If you're in the "probably not" column, I'd rather tell you upfront and refer you to someone better suited than waste your time. Email me anyway—I likely know who can help.

02 — PROCESS

How a project moves.

A clear, structured process from first conversation to final delivery. No surprises, no scope creep, no babysitting required.

WEEK 1

01

Brief

We talk about your project—what you're building, the tone you're after, where it's going. I review picture or rough cuts, listen to production audio, and identify the technical and creative challenges specific to your work.

YOU GET: SCOPE · TIMELINE · FIXED QUOTE

MAIN PHASE

02

Build

Focused production work. I integrate into your existing pipeline or set up a clean exchange workflow if you don't have one. Regular preview deliveries at the milestones that matter—first pass, design lock, mix lock—so you're never surprised by where the work is heading.

YOU GET: REGULAR PREVIEWS · MILESTONE CHECK-INS

REVISION ROUNDS

03

Refine

Two structured revision rounds to land the creative vision precisely. I work from time-coded notes, video reference, or live review sessions—whatever fits your team. Each round is purposeful, not endless.

YOU GET: 2 STRUCTURED ROUNDS · TIME-CODED FEEDBACK

FINAL

04

Deliver

Final masters in every format your distribution requires. Stereo, 5.1, broadcast-spec loudness, festival DCP specs, platform-specific deliverables—handled and verified before sign-off. Files are organized and labeled for archival.

YOU GET: FINAL MASTERS · ARCHIVED SESSIONS

01
1 WEEK
02
2-6 WEEKS
03
1 WEEK
04
2-3 DAYS

AVERAGE PROJECT TIMELINE

4 to 9 weeks, depending on scope.

Rush turnarounds available with rush fees. Long-form series and features can run longer—we'll map that out in the brief stage.

03 — ABOUT

Who you'll actually work with.

Juan Pablo Ortega

BEHIND THE SCENES · ON LOCATION

INTRODUCTION

Hello.

I'm Juan Pablo Ortega. I work alone, not as an agency, not as a studio team. When you hire me, I'm the one reading your script, designing your sounds, mixing your dialogue, and signing off on the final master.

I trained at SAE Institute Mexico and Vancouver Film School in the complete audio post-production pipeline for narrative work. Today I work across feature film, streaming series, narrative shorts, long-form podcasts, and indie game audio. From a treated studio, working remotely with productions worldwide.

I take a limited slate of projects so each one gets real attention. Most of my clients come from referrals—directors and producers who came back for the next one. That's the relationship I aim to build with you.

BASED

Remote · Worldwide

LANGUAGES

EN · ES (Native)

TRAINED AT

SAE Institute Mexico · Vancouver Film School

RESPONSE

24-48 hours

Read the Full Story →
"Juan's great and will always be our preferred choice for sound design."
— Client, Independent Film (2025)
"Will definitely be working with him again. Amazing at sound design and quick."
— Client, Animation Studio (2024)
"Juan did such a great job. Thanks again."
— Client, Film Production (2025)

Got a project that needs the right sound?

[email protected]
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