Jay has over 25 years of experience in the feature film and commercial industries. Born and raised in New York, he got his start in sound working for Mike Nichols on Postcards From the Edge and Regarding Henry and Nora Ephron on her first feature, This Is My Life. Shortly after, he moved to Los Angeles where it didn’t take long to become a sound editor on blockbusters like The Fugitive, Clear and Present Danger and Batman Forever. Jay was part of an Oscar nominated sound editing team each of his first four years in LA.
In 2002, after 10 years as a successful Sound Designer and Supervising Sound Editor in Hollywood, Jay joined Elias Arts as their Senior Sound Composer. There, over the next 4 years, he created award winning sound design for hundreds of commercials, working with every agency on brands like Nike, Budweiser, Infiniti, Pepsi, Lexus, IBM and Gatorade, to name just a few.
In 2006, Jay started Sublime Sound where he could expand his services to include features, commercials, internet content and more. Recently, he completed work as a sound designer and sound effects supervisor on the award winning American Hustle. Today, Jay can still be heard blowing up buildings, revving his engine and cursing at Pro Tools.
Upon graduating from the UCLA School of Film and Television, Katrina joined Sublime Sound following a brief internship with Jay. She quickly discovered a hidden passion for sound design and we quickly discovered her talent! Since then, she has worked on a number of features, short films, and lots of commercials. In fact, it’s safe to say Katrina has done heavy lifting on a majority of our work since joining us.
She’s also a pretty mean cook and will show off her terrible dance moves any time.
Originally from Wisconsin, Todd began his professional sound editing career in 1990 as a sound editor on The Wonder Years and has never looked back. He takes a very creative approach to what many would argue is a boring and tedious task… editing dialogue. Done well, editing dialogue is much like magic; making noises disappear from under spoken words so the audience can better understand what the actors are saying. In 2000, he added computer aided noise reduction to his capabilities and founded Captain Audio, which specializes in cleaning production sound for films and television. He is considered at the top of his field and his ever evolving tools allow him to perform more and more amazing feats of magic on noisy dialogue tracks. His current credits include Mad Men, The New Girl, Grimm, and Orange is the New Black.
After a 25 year hiatus, Todd has rediscovered the French Horn (he graduated from Indiana University with a music degree in 1987) and now performs with local groups in Los Angeles. “It gets me out of my editor’s chair and amongst a whole new group of friends!”
Stuart is one of the best, most creative and versatile sound designers in town. From big studio features to blockbuster video games to high-profile commercials, he does it all – and does it BIG. Video game credits include Need For Speed, Call of Duty: Ghosts, Metal Gear Rising and World of Warcraft. Feature film credits include The Twighlight Saga: Eclipse, After Earth, The Expendables and Evil Dead. Commercial credits include Superbowl spots for Budweiser and Bud Light as well as HP, Gatorade and Infiniti, to name just a few.
We worry that he doesn’t get enough sun.. But his sound work always dazzles and his aim is true.
After graduating from the Berklee College of Music in Boston, Jon headed west to Santa Monica, where he met Jay at Elias Arts. There, he had the good fortune and pleasure of learning from and working with Jay for several years, contributing his unique talents to over a hundred commercials. Now, after a decade of experience, Jon offers his sound design and composing talents for everything from advertising, TV and film, to software and mobile devices.
Recent commercial credits include Bud Light, Infiniti, Coke, Playstation and Tostitos.
When he’s not working, he’s playing guitar and enjoying life around southern California.
Brent enjoys long walks on the beach with his microphone and recorder. He thrives on ‘The Get’… capturing the exact recordings needed for a project. He formally entered the sound-for-picture world in 2005 after many years focusing on music engineering and computer science. It has been non- stop since. Feature films, television, commercials, podcasts, radio, mobile apps, video games – whatever it is, Brent can put sound on it. What he lacks in looks he makes up for in creativity and problem-solving. The perfect face for sound!