Wir sind WE DON’T WAIT. WE CREATE., ein unab­hän­gi­ges Kol­lek­tiv aus Crea­ti­ves, und gera­de dabei, die bes­te Crew der Welt für FAMILY PORTRAIT zusam­men­zu­stel­len – und viel­leicht gehörst du dazu.

FAMILY PORTRAIT ist unse­re fik­tio­na­le Ver­ti­cal Series über eine erfolg­rei­che Schwar­ze Hotel­dy­nas­tie in Deutsch­land, Macht, Loya­li­tät und die Din­ge, die hin­ter einer per­fek­ten Fas­sa­de ver­bor­gen blei­ben.

Für den Dreh in Ber­lin suchen wir aktu­ell Regie, Set-Auf­nah­me­lei­tung, Sound, Set-Foto­gra­fie, Hair & Make-Up, Cos­tu­me, Set-Design, Run­ner und Dri­ver mit eige­nem Fahr­zeug.

Dreh­zeit­raum: 02.–14.11.2026 (vor­aus­sicht­lich)
Ort: Ber­lin

Wir freu­en uns über Bewer­bun­gen von erfah­re­nen Film­schaf­fen­den eben­so wie von New Talents. Ever­y­bo­dy is wel­co­me.

Für Regie (Ver­ti­cal­es Sto­rytel­ling nötig), Set-Auf­nah­me­lei­tung, Sound und Set-Foto­gra­fie ist prak­ti­sche Set-Erfah­rung wich­tig. Für Hair & Make-Up suchen wir Per­so­nen, die sicher mit unter­schied­li­chen Haut­tö­nen und ins­be­son­de­re mit Black & Brown Skin arbei­ten.

Zur Ver­gü­tung: Aktu­ell kön­nen wir noch kei­ne Gage garan­tie­ren. Wir arbei­ten aktiv an Finan­zie­rung, Part­ner­schaf­ten und Sup­port für die Pro­duk­ti­on und hof­fen sehr, bis zum Dreh wei­te­re Mit­tel sichern zu kön­nen. Daher hof­fen wir auch auf euren Sup­port und dar­auf, gemein­sam etwas Beson­de­res auf die Bei­ne zu stel­len.

Inter­es­se?
Besucht uns auf Insta­gram unter @wedontwait_wecreate. Dort bekommt ihr Ein­drü­cke zu unse­rem Team, zum Pro­jekt und zur Welt von FAMILY PORTRAIT.

Schickt uns dort eine DM mit kur­zer Vor­stel­lung, gewünsch­ter Posi­ti­on, rele­van­ter Erfah­rung, Arbeits­pro­ben /​ Port­fo­lio und eurer Ver­füg­bar­keit im Dreh­zeit­raum.

Wir freu­en uns auf euch.
Melo­die & Rah­wa

E‑Mail

Ich bin Fran­ces­co Man­gi­a­ra­ci­na, Sound­de­si­gner, Audio Engi­neer und Film­kom­po­nist aus Mün­chen und betrei­be die FMM Stu­di­os.

Für Kurz­fil­me, Doku­men­ta­tio­nen, Inde­pen­dent-Pro­duk­tio­nen und wei­te­re Film­pro­jek­te über­neh­me ich bei Bedarf die kom­plet­te Audio-Post­pro­duk­ti­on – vom Dia­log­schnitt bis zum fina­len Mix und auf Wunsch inklu­si­ve eigens kom­po­nier­ter Film­mu­sik.

Mein Leis­tungs­be­reich umfasst unter ande­rem Dia­log Editing und Ton­re­stau­ra­ti­on, Sound­de­sign, Atmos/​Hintergründe, Sound Effects Editing, Foley-Bear­bei­tung, Ste­reo-Mischung sowie Film­mu­sik /​ Ori­gi­nal Score.

Ich arbei­te seit über 25 Jah­ren pro­fes­sio­nell in den Berei­chen Musik­pro­duk­ti­on, Recor­ding, Mixing und Mas­te­ring und habe mei­nen Schwer­punkt in den ver­gan­ge­nen Jah­ren zuneh­mend auf Film­ton und Audio-Post­pro­duk­ti­on erwei­tert.

Meh­re­re Fil­me, an denen ich im Bereich Sound­de­sign und Audio-Post­pro­duk­ti­on betei­ligt war, wur­den bereits auf Film­fes­ti­vals aus­ge­zeich­net. Zwei die­ser Pro­duk­tio­nen konn­ten meh­re­re Awards in Ber­lin sowie auf wei­te­ren Fes­ti­vals in Euro­pa gewin­nen.

Mir ist beson­ders wich­tig, dass Sound­de­sign, Dia­log, Atmo­sphä­re und Musik nicht als ein­zel­ne Ele­men­te neben­ein­an­der­ste­hen, son­dern gemein­sam eine stim­mi­ge Klang­welt für den Film schaf­fen.

Ich freue mich über Anfra­gen von Regisseur:innen, Produzent:innen und Film­schaf­fen­den, die für ihr Pro­jekt pro­fes­sio­nel­le Unter­stüt­zung in der Audio-Post­pro­duk­ti­on oder Film­mu­sik suchen.

Show­re­el:
https://​fmm​-stu​di​os​.de/​s​h​o​w​r​e​e​l​-​t​o​n​s​t​u​d​i​o​-​m​u​e​n​c​hen

Web­site:
www​.fmm​-stu​di​os​.de

Kon­takt:
Fran­ces­co Man­gi­a­ra­ci­na
FMM Stu­di­os – Mün­chen
info@​fmm-​studios.​de

E‑Mail

For my indie fea­ture film debut, 1000 Miles Per Hour, I am loo­king for a Sound Desi­gner to join the post-pro­duc­tion team and help shape the film’s sound­scape.

ABOUT THE FILM
1000 Miles Per Hour is an 80-minu­te psy­cho­lo­gi­cal thril­ler with sci­ence-fic­tion, sur­re­al, and body-hor­ror ele­ments.
The sto­ry fol­lows two men who wake up with no memo­ry insi­de a moving truck, with all evi­dence sug­gest­ing that they have been impri­so­ned insi­de it for months. As they try to pie­ce tog­e­ther what hap­pen­ed to them, the film gra­du­al­ly beco­mes a sto­ry about young peo­p­le lost in their see­mingly futi­le lives, over­whel­med by the weight of their own ambi­ti­ons and trap­ped in cages they may no lon­ger even desi­re to escape. Ulti­m­ate­ly, it is also a sto­ry about under­stan­ding and fin­ding ones­elf, rede­fi­ning one’s values, and deci­ding how much of ones­elf one is wil­ling to sacri­fice in order to suc­ceed, or, alter­na­tively, to start over again.

The film is stron­gly influen­ced by the Kore­an New Wave, in par­ti­cu­lar the work of direc­tors such as Bong Joon Ho, Park Chan-wook, and Na Hong-jin. At the same time, it draws inspi­ra­ti­on from the sur­re­al body of work of Char­lie Kauf­man, with a par­ti­cu­lar focus on the story’s puz­zled struc­tu­re and its omni­pre­sent psy­cho­lo­gi­cal ten­si­ons bet­ween the prot­ago­nist and the world sur­roun­ding him.

YOUR ROLE
I am loo­king for someone who can take an acti­ve crea­ti­ve role in deve­lo­ping the film’s sound­scape.
The main respon­si­bi­li­ties would include:
– Crea­ting and deve­lo­ping the film’s over­all sound­scape and sonic iden­ti­ty
– Desig­ning atmo­sphe­ric, psy­cho­lo­gi­cal, and ten­si­on-buil­ding sound
– Editing and laye­ring ambi­en­ces, effects, and other sound ele­ments
– Working clo­se­ly with me as the direc­tor throug­hout the pro­cess

The role is focu­sed spe­ci­fi­cal­ly on crea­ti­ve sound design and does not include dia­lo­gue editing, dia­lo­gue cleanup/​restoration, or other dia­lo­gue post-pro­duc­tion respon­si­bi­li­ties. The­se aspects of the film’s sound post-pro­duc­tion will be hand­led sepa­ra­te­ly.

The exis­ting sound will need to be lar­ge­ly rebuilt from the ground up. This means the­re is con­sidera­ble crea­ti­ve free­dom to shape how the film ulti­m­ate­ly sounds, but also a sub­stan­ti­al amount of work to be done.

CREATIVE DIRECTION
I alre­a­dy have ide­as, refe­ren­ces, and a gene­ral sonic direc­tion in mind, but I am very inte­res­ted in col­la­bo­ra­ting with someone who can bring their own per­spec­ti­ve and ide­as to the pro­ject.

I would the­r­e­fo­re pre­fer the sound design to deve­lop through clo­se crea­ti­ve exch­an­ge, rather than sim­ply fol­lo­wing a fixed brief.
The over­all sound­scape is inten­ded to feel gloo­my, mecha­ni­cal, and at times indus­tri­al, with sound effects and ambi­en­ces desi­gned to evo­ke a sen­se of hosti­li­ty, iso­la­ti­on, and unea­se within the film’s envi­ron­ments.
In terms of atmo­sphe­re, some of my refe­ren­ces include the sound­scape of Rid­ley Scott’s Ali­en and the HBO series Cher­no­byl.

At the same time, the sur­re­al natu­re of the film allows for more expe­ri­men­tal approa­ches to per­spec­ti­ve. The­re are moments in which the film deli­bera­te­ly plays with the point of view from which events are heard, inclu­ding sequen­ces whe­re the sound­scape beco­mes high­ly sub­jec­ti­ve and immersi­ve, in a simi­lar vein to Sound of Metal.

The film also moves through a deli­bera­te­ly varied ran­ge of envi­ron­ments. For exam­p­le, one major sequence takes place during a storm on a raging sea, while ano­ther one, later in the film, takes place on a beach, requi­ring a very dif­fe­rent sonic cha­rac­ter. Due to the film’s sci­ence-fic­tion and sur­re­al ele­ments, the­re is also one par­ti­cu­lar sequence that draws audi­ble inspi­ra­ti­on from the retro Cze­chos­lo­va­ki­an sci­ence-fic­tion film Ika­rie XB 1.

The­se are only some of my initi­al refe­ren­ces and ide­as. More detail­ed expl­ana­ti­ons and spe­ci­fic refe­ren­ces can be dis­cus­sed with appli­cants who are inte­res­ted in taking the pro­ject fur­ther. I wan­ted to men­ti­on them here alre­a­dy, howe­ver, becau­se I belie­ve the film offers a wide and varied sonic palet­te, as well as con­sidera­ble room for a sound desi­gner to expe­ri­ment, demons­tra­te their skills, and deve­lop their own crea­ti­ve ide­as.

CURRENT STATUS & TIMELINE
The film is curr­ent­ly in the final stages of editing. The main cut is alre­a­dy very clo­se to pic­tu­re lock, with only minor adjus­t­ments expec­ted fol­lo­wing the final test scree­nings.
I expect the sound-design work to begin appro­xi­m­ate­ly bet­ween 15 Octo­ber and 1 Novem­ber 2026, depen­ding on the final editing pro­cess and the sound designer’s avai­la­bi­li­ty.

Once the pic­tu­re is locked, I would like to move direct­ly into the final pha­se of post-pro­duc­tion. The exact sound-design sche­du­le is fle­xi­ble and will be agreed tog­e­ther, depen­ding on the sound designer’s avai­la­bi­li­ty and their assess­ment of the pro­ject after see­ing the film.

Qua­li­ty is more important to me than rus­hing the pro­cess, so I am hap­py to dis­cuss a rea­li­stic time­line tog­e­ther.
Befo­re com­mit­ting to any­thing, I would be very hap­py to arran­ge a call, and later in the appli­ca­ti­on pro­cess, show you the cur­rent cut, so you can get a pro­per impres­si­on of the film and the scope of the work.

WHO I’M LOOKING FOR
Ide­al­ly, you:
– Have pre­vious expe­ri­ence in sound design
– Have work­ed on nar­ra­ti­ve films, short films, or other cine­ma­tic pro­jects
– Have a strong sen­se of atmo­sphe­re, rhythm, and sto­rytel­ling through sound
– Are inte­res­ted in expe­ri­men­tal or psy­cho­lo­gi­cal­ly dri­ven sound design
– Enjoy working col­la­bo­ra­tively with a direc­tor
– Are opti­mal­ly Ber­lin based (not a neces­si­ty though)

Expe­ri­ence with thril­ler, hor­ror, sci­ence fic­tion, or art­house cine­ma would be par­ti­cu­lar­ly rele­vant, but is not a requi­re­ment.
Most important­ly, I am loo­king for someone who is exci­ted by the crea­ti­ve pos­si­bi­li­ties of the pro­ject.

COMPENSATION
This is a self-fun­ded inde­pen­dent film, so unfort­u­na­te­ly I can­not offer a stan­dard indus­try fee.

I have nevert­hel­ess set asi­de an expen­se com­pen­sa­ti­on fee of €1,400. I know that this does not reflect the full pro­fes­sio­nal value of the work invol­ved, which is why I want to be trans­pa­rent about the bud­get from the begin­ning.

Bes­i­des the expen­se com­pen­sa­ti­on, you will of cour­se also recei­ve:
– Sound Desi­gner cre­dit on the finis­hed film
– The oppor­tu­ni­ty to use the fea­ture film in your port­fo­lio /​ show­re­el
– Cre­dit in fes­ti­val sub­mis­si­ons and pro­mo­tio­nal mate­ri­als whe­re appli­ca­ble
– A finis­hed fea­ture film that can be pre­sen­ted as part of your pro­fes­sio­nal work

INTERESTED?
If the pro­ject sounds inte­res­t­ing to you, I’d love to hear from you.

Plea­se feel free to send me an email at 1000milesanhour.​film@​gmail.​com tel­ling me a litt­le about yours­elf and your pre­vious work. I would then be hap­py to arran­ge a Zoom call and talk through the pro­ject , our poten­ti­al col­la­bo­ra­ti­on, refe­ren­ces and the scope of the sound design.

I look for­ward to hea­ring from you!

Ron­ny Papak

E‑Mail