Welcome to this peculiar webspace, the exciting new-fangled home of Alan Koda's Professional Existence™ (now In Web-o-Matic Stupendiosity™!), where you will one day find all sorts of media whatsits and whoozits. Alan Koda is, incidentally, myself.

Bio and Headshot

I am a sound designer for film, television, and games (as that big banner up top says).

I am a recent graduate of the Sound Design MFA program at the Savannah College of Art and Design. In my three-year tenure at the school, I have worked on over thirty student projects on both production and post-production, including the organization, coordination, and supervision of post-production audio teams for four student films. I am experienced with recording and editing effects, dialogue and Foley, as well as mixing for film.

My accolades include an Outstanding Achievement award from SCAD's sound department, an Artistic Achievement award for an Outstanding Body of Work from SCAD's film department, and a nomination by the Motion Picture Sound Editors for the Verna Fields Award in Sound Editing for Student Filmmakers. You can check out the last bit of the Resume section for more awards and honors.

My thesis work centered on redesigning Digital Audio Workstation interfaces for post-production, and how to effectively develop interaction with audio software beyond analog hardware emulation. Research culminated in several prototype designs for touch-based audio software, utilizing novel interaction paradigms.

Résumé

That title is not entirely accurate. If you'd like to see my actual résumé, you can view it here. The bulk of this section, however, is meant to be more than a résumé. The purpose of everything listed below is not to list experience or skills, but to showcase the accomplishments I'm most proud of:

As a

Sound Design Graduate Student
  • I provided location sound for
    over twenty projects.

    I approach every project as a professional: more than simply showing up on time with the right equipment, maintaining communication with all departments on set and anticipating needs is vital to an efficient set and great sound. I made sure to accompany location scouts (or to ask for location specifics when not possible), ask about equipment concerns for both sound and grip, note possible ADR/looping needs, and accommodate the needs of camera and grip teams so that they could better accommodate ours.
  • I provided post-production sound services for another dozen projects.

    I performed a variety of roles: effects editor, dialogue editor, ADR recordist, Foley artist, music editor, re-recording mixer. For four of those projects, I supervised a team of sound students in conceiving and executing the director's vision in terms of soundtrack. One had the privilege of being a finalist for the Coca Cola Refreshing Filmmaker's Award (and is the only time I've ever had the privilege of managing an eight-person sound team).
  • I reached out to other students.

    I tutored sound design skills such as Pro Tools operations, production and postproduction workflow, and Max/MSP/Jitter coding. I also connected student filmmakers with other student sound designers for their projects, and worked with our student audio group, the Professional Audio Student Organization (more on that below).
  • I learned skills outside of my
    sound design focus.

    In addition to capturing sound on-set and building film soundtracks, I supplemented my audio work with additional skills in Photoshop, Illustrator, After Effects, and Final Cut Pro. Within sound, I learned to code in Max/MSP to create complex audiovisual projects and custom editors. And, in a broader sense, I learned how to schedule, how to budget, how to plan, and how to effectively communicate in order to manage a team and multiple projects.

As

Treasurer for the Professional Audio Student Organization
  • I managed the club's finances.

    I tracked our expenditures as well as crafting our budget proposals to earn funds from the InterClub Council. Under my supervision, our allocated funds between September 2009 and February 2010 doubled, becoming our highest budget grant for a single proposal.
  • I helped coordinate our guest lectures
    and other events.

    I organized arrangements such as travel, accommodations, venues, and advertising for our guest lecturers and other events. During my tenure, we hosted four audio professionals as guest lecturers; two of our guests were part of the very first CoMotion, an interdepartmental two-day event featuring audio and motion media professionals.
  • I publicized our meetings and events.

    As the unofficial 'PR officer', I created all flyers and promotional material for PASO, and occasionally even went from classroom to classroom to inform students of what events were coming up.

As an

Intern at The Kitchen dubbing and subtitling
  • I provided quality control on up to six project episodes daily.

    I ensured that lip sync, audio quality, and dialogue delivery met our standards, for episodic projects in English, Spanish, Portuguese, and French.
  • I crafted a guide for engineering
    dubbing sessions.

    Our facilities employed house-developed looping software for the PC, utilized simultaneously with a Mac running Pro Tools, so the dubbing process was somewhat complex. Lacking a guide for my own training, I decided that documentation for the process would be a great asset to future interns for remembering workflow processes, keyboard shortcuts (which were surprisingly vital to operation!), and non-audio concerns such as billing talent. I wrote a detailed step-by-step manual in a few days, and showed it to my superiors for feedback.

    For the record, my immediate supervisor was very excited to see a
    DubStation how-to guide.

  • I created a cast database for
    our dubbing project.

    We used casting sheets to keep track of which actors, as which characters, had completed which episodes. One particular project had over two dozen regular cast members, in addition to various minor episodic roles, spread over almost two hundred episodes — manually checking every casting sheet for each dub session was tedious and inefficient. I took the casting sheets and entered the data into an Excel database — with color-coding for 'unfinished'/'finished'/ 'not in episode' entries and tools to automatically calculate, for each character, how many episodes were complete as well as how many (over a user-specified range) remained incomplete — and uploaded it to Google Docs for easy sharing with the project directors.

Awards & Recognition
  • Nominee for Verna Fields Award in
    Sound Editing for Student Filmmakers

    for En Route (student film)

    Golden Reel Awards, Motion Picture Sound Editors, 2011

  • Nominee for Student Academy Award

    for The Girl and the Fox (student film)

    Academy of Motion Picture Arts and Sciences, 2011

  • Outstanding Achievement Award

    Sound Design department, Savannah College of Art and Design, 2011
  • Artistic Achievement Award for an
    Outstanding Body of Work

    SCADemy Awards, Savannah College of Art and Design, 2010
  • Nominee for Best Sound

    for Atrophy (student film)

    SCADemy Awards, Savannah College of Art and Design, 2010

  • Nominee for Best Sound

    for En Route (student film)

    SCADemy Awards, Savannah College of Art and Design, 2010

Samples

A sampler of postproduction audio projects I have completed while at Savannah College of Art and Design:

Contact
email alan@alankoda.com
phone (912) 373-6731