Sound Recordist and Sound Assistant

Corporate, Documentaries and Drama. Based in London.

Title: The Magick Show, by the American production company ACGT Inc.

Genre: Documentary series for TV broadcast

Producer: Judd Cherry

Director: Richard Metzger

Production company: ACGT Inc.

My role: Sound recordist

Date: October 2022

Title: Good or Ill

Genre: Horror period drama, short film

Producer: Eve Carson

Production company: Rushes Digital ltd.

My role: Sound recordist

Date: October 2022

Title: Gangsta Granny

Genre: Comedy TV series

Production company: BBC

Sound mixer: Geoff Wong

My role: Sound trainee

Date: October 2022

Samples of my work:

Title: ‘We Drive Football’ campaign by Volkswagen Germany.

Genre: Corporate

Production company: Ad Hoc Films ltd.

My role: Sound recordist

Date: July 2022

First Episode for Volkswagen around Euro 2022

JJ Roble, @jawahir_roble, is a woman. She is black. She wears hijab. Nobody believed in her dream of becoming a referee. But she did. Watch the inspiring journey from a woman who came to England from Somalia – and didn’t have much more than football.

Second episode for Volkswagen around Euro 2022

as part of the ‘We Drive Football’ campaign. Working with the Sirens FC in the Hackney based Super 5 League

Third Episode for Volkswagen around Euro 2022

as part of the ‘We Drive Football’ campaign:  Roya Mehdizadeh-Valoujerdy, who is on a mission to ensure everyone is represented in football and that the sport creates opportunities and a welcoming space for all.

Narrative and Documentary: (short narrative) (feature documentary) (short documentary) (short documentary) (video art documentary)


First I’ll learn about the project in as much detail as possible. This will give me an idea of what the shoot will be like, and quote precisely. A good initial phone call is really important, to get a good idea of what I’m in for, kit and cost aside.

Quotes depend on the job, and genre. There’s a reason for this- a lot of jobs are different with various complexity levels, require different kit and crew and we need to quote based on this- rather than accept whatever number is presented.

Things I look at when quoting:

  • Genre is very important. Especially across different genres (expect this varies between different kinds of drama shoot even)
  • Drama can involve a lot more mics than simply number of cast, when you start getting into plant mics, car rigs and what have you.
  • In the very open and wide world of ‘branded/corporate/commercial’ the first thing is to look at the client’s brief to establish:

– Length of the day.

– Number of cameras and contributors.

– For sound (Link/s to camera – I always assume that every camera will have a TC box).

– IEM’s, if needed.

– Kit transport

– Additional crew needed?

About Ana Corrie Helmeyer

My work is to uncover big ideas and great stories that make culture, ignite change and growth in people and organizations, and move people into action. I work with people who are inventing things worth making, with stories worth telling, and with a contribution worth talking about.