Ambience and Sound Effects Editing
5.1 + 7.1 + Atmos
Mastering for Film, TV, Radio, DCP, Online, Podcasts and Social
DI / Online Finishing
HDR / Dolby Vision
8K / 4K / UHD / 2K / HD
Deliverables for Film, TV, Online, Podcasts and Social
DCP Authoring, Encryption and Review
Trailer Mastering + Deliverables
Post Supervision Consulting
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 Austin to transcode RED ONE footage and make DCPs. We foleyed a critically-acclaimed film that won the Critics Week Grand Prize and the FIPRESCI Prize at Cannes using miscellaneous objects procured from our property’s woodshed, and junk stored in our closets.
We are resourceful and nimble. We love color and sound. We are content-junkies, creatives, nerds and problem-solvers. We think outside of the box and our tools are constantly evolving and expanding. We are curious and inspired and realistic. We experiment, we hone our craft, we research, we analyze and find creative and efficient solutions to solve technical and creative puzzles, 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. One day your algorithm is in, and one day your algorithm is out. Our team, hardware, software, and workflows adapt to stay ahead of the meme and keep the flow. We aim to exceed your expectations and maybe, we blow your mind. We are stuck on on.
Allison TurrellExecutive Producer
Since 2008, Allison has marshaled sixty-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, and various theatrical runs. She’s the one to call to get the party started. She was 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). She has also served as a News & Documentary EMMY judge.
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 sous cheffed. 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 short story collection.
Continuing Obsessions: Rollerskating, nature live cams, gardening, 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 2010, sound design and mixing became his primary focus as custom commercial music was replaced by stock music. Some feature highlights include Jeff Nichols’ Take Shelter (2011) and Mud (2012), Keith Maitland’s documentary TOWER (2016) and Dear Mr. Brody (2020) and Ben Masters’s epic nature film Deep in the Heart: A Wildlife Story (2022). He 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 sound designed QCODE’s podcasts The Beautiful Liar (2021) and Jeff Nichols’ podcast Hank the Cowdog (2020) in Atmos and binaural. He was nominated for an EMMY in “Outstanding Sound” for his work on TOWER .
Bands: Ed Hall, Pong, Total Unicorn and Thor & Friends. Co-founder of Rolling Ryot, a spatial sound collective. Recent installations include Dumpter Fire (2020), Buzz Fest (2020) and Rainforest Reverb (2019) at Fusebox. He is currently putting the finishing touches on his first solo album Vertical Migration.
Current Obsessions: Modular synthesis, cataloguing coquí frog orchestras and reading obscure synth manuals.
Parke GreggChief Colorist and DI Editor
Originally a student of architecture who backpacked around the world, 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 sixty-plus film and TV credits under his belt. Some highlights include Richard Linklater’s Apollo 10 1/2: A Space Age Childhood (2022), 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’ critically acclaimed film Take Shelter (2011) and executive producer and editor of the QCODE podcast Hank the Cowdog (2020).
Ongoing Obsessions: Astronomy, tricking out flying-robots, restoring vintage motorcycles, and riding electric skateboards with his son.