Ambience and Sound Effects Editing
5.1 Surround Mixing + Encoding
ADR & Voice-Over Recording
Studio Patch Using Source-Connect Pro
Color Grading with SCRATCH
Digital Lab & Dailies, One-light and transcode
Standards Conversion with Teranex
Formed in 2007, we stumped our colleagues by touting a tapeless digital workflow, combining music composition with re-recording mixing and offering audio and visual post under one roof. We were one of the first post houses in town to transcode RED footage and make DCPs. We foleyed an entire critically acclaimed, award-winning movie using miscellaneous metal and tools procured from our property’s woodshed and junk stored in our closets.
We are resourceful and nimble. We love color and sound. We are creatives and nerds and strategists. We think outside of the box. Our toolbox is expansive and constantly evolving. We are experienced. We’ve been doing this our whole lives. And no, that doesn’t make us jaded or cynical; on the contrary, it makes us curious and inspired and realistic. We experiment, we practice, we research, we analyze and we find creative and efficient solutions to keep your project on schedule, on budget and within scope. We listen, we ask questions and we pay attention to the details. We’re proactive.
Post production is a moving target. Not unlike fashion, one day your codec is in and one day it is out. Our hardware, software, workflows and team adapt to stay ahead of the moving target. We aim to exceed your expectations and hopefully, we blow your mind, because we believe in your story. We are stuck on on.
Allison TurrellExecutive Producer
Since 2008, Allison has marshaled forty-plus feature films and series across the finish line to Cannes, Berlin, Sundance, SXSW, Tribeca and many other film festivals along with delivery to PBS, Netflix, Amazon, Facebook, YouTube, Hulu, iTunes and various theatrical runs. She’s the one to call to get the party started. She was recently nominated for an EMMY in “Outstanding Sound” for her work on TOWER and an honoree on StudioDaily’s first ever roster of Exceptional Women in Production and Post (2018).
Prior to Stuck On On, she worked as a freelance photographer and graphic designer, authored interactive Photoshop CS training videos, co-taught courses in photography and video art, typeset obscure academic psychology journals, proofread K-5th grade reading textbooks and was a sous chef in college. Her photography has been exhibited in Austin, Baltimore, Germany and published in BuzzFeed, The Boston Review, Locus, Guernica, NowPublic and the Chicago Schmap Guide. She is currently working on a novel.
Continuing Obsessions: Nature Live Cams, Mandala Coloring Books and Yotam Ottolenghi’s Recipes.
Lyman Hardy IIIChief Sound Designer and Supervising Sound Mixer
Winning a Celis beer jingle contest in 1999 launched Lyman’s commercial audio career. He used the proceeds to buy a Kurzweil 2000 and worked exclusively as an electronic composer and sound designer on campaigns such as Kinko’s, State of Texas, Southwest Airlines, Golfsmith, Lollapolooza, Livestrong, Norwegian Cruise Lines and Ronald McDonald House.
In 2009, sound design and mixing became his primary focus as commercial custom music was replaced by stock music. Some feature highlights include Jeff Nichols’ Take Shelter (2011) and Mud (2012), The Miller Brothers’ All the Birds Have Flown South (2016) and Keith Maitland’s documentary TOWER (2016). He also mixed and SFX edited Richard Linklater’s Hulu series Up to Speed (2012) and Rooster Teeth’s award winning anime series RWBY (Seasons 1-4), YouTube stars—Planet Slow Mo (2018–2019), and remixed Red vs. Blue Seasons 1-10 (2012). He was recently nominated for an EMMY in “Outstanding Sound” for his work on TOWER .
Current Bands: Drummer for party starters Pong and one of the masterminds behind the electronic maximalist multimedia extravaganza Total Unicorn. Co-founder of Rolling Ryot, a spatial sound collective. Recent installations include Psychoacoustic Cinema at The Color Inside—James Turrell UT Skyspace (2018) and Rainforest Reverb (2019) at this year’s Fusebox Festival .
Current Obsessions: Modular synthesis, cataloguing coquí frog orchestras and reading obscure synth manuals.
Parke GreggChief Colorist and DI Editor
Originally a student of architecture, Parke won his first Summit, Addy and Telly awards on the client side as Tivoli’s Manager of New Media. In 1999, he launched Pointsphere, a new media consulting firm before he jetted off to Saipan to scuba dive, run an aerial kite photography business and moonlight as a private eye. Returning the mainland in 2004, he was the Post Production Supervisor on the CNBC television series American Made and Associate Producer for the Emmy Award Winning PBS documentary series The State of Tomorrow.
In 2007, his focus shifted to color and DI, with over forty film and TV credits under his belt. Some highlights include Richard Linklater’s Everybody Wants Some (2016), Boyhood (2014), Before Midnight (2013), the Hulu series Up to Speed (2012), and Rooster Teeth’s series Planet Slow Mo (2018-2019) and gen:LOCK (2019). He was also the editor and colorist for Jeff Nichols’ Take Shelter (2011).
Ongoing Obsessions: Astronomy, tricking out flying-robots and riding scooters with his son.