STUCK ON ON is everything you need to finish your feature film, documentary, TV show or commercial.




Most projects have modular teams. Whether the post supervisor is in LA, the editor in NYC, the composer in Berlin, the title designer in Mexico, the director in Little Rock (or on a national tour and playing Stubbs for one night only), when it comes time to finish, continuity and precision reign supreme.

To make diversified projects easier and smoother, Stuck On On brings audio and video post services together under one roof. It’s a unique, collaborative experience to critique the color in the DI suite and then move over to the audio suite and tweak the mix. It saves time and reduces technical variables (especially if you need to shave off a few frames, swap out a song due to licensing issues, or add a last minute logo).

With more dedicated hands on your team, you can focus on the creative. We’ll actually have fun and finish your project with less headaches. That said, you don’t have to do everything with us. We too are modular and happy to work with other people and teams.


Audio Post Supervision Consulting
Sound Design + Foley
Re-recording Mixing and Editing
Dialogue Editing
Ambience and Sound Effects Editing
5.1 Surround Mixing + Encoding
Music Composition
Film Scoring
ADR & Voice-Over Recording
Studio Patch Using Source-Connect Pro


Post Supervision Consulting
Color Grading with SCRATCH
DI / Online Finishing
VFX / Compositing / Rotoscoping
Digital Lab & Dailies, One-light and transcode
Offline Editorial
Mastering for Film, DCP, Web, Bluray and tape
DCP Authoring, Encryption and Review (4K + 2K)
Native support for RED, ARRI, Varicam, Phantom
Standards Conversion with Teranex


Stuck On On is an award-winning audio and visual finishing house in Austin, Texas. We creatively and technically manage and execute file-based projects for theatrical and digital release, TV and the Interwebz.

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.



Three founders and many ideas that became stuck on, on.

Allison Turrell

Allison Turrell

Executive Producer View Details
Lyman Hardy III

Lyman Hardy III

Chief Sound Designer and Supervising Sound Mixer View Details
Parke Gregg

Parke Gregg

Chief Colorist and DI Editor View Details
Allison Turrell

Allison Turrell

Executive 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, TAROT decks and Yotam Ottolenghi’s Recipes.

Lyman Hardy III

Lyman Hardy III

Chief 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 Gregg

Parke Gregg

Chief 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 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 electric skateboards with his son.


Tell us about your project and we can tailor a bid to fit the length, scope and budget.