Academy Award nominee for best sound for Elvis
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About Big Bang Sound Design
At Big Bang Sound Design we are dedicated to the importance of storytelling through the use of sound. Our goal is to create soundtracks that allow the audience to see the film with their ears. We are committed to, and strive for, a unique collaborative approach to the filmmaking process, always having the story drive our sound. We also believe that sound design is an art form, and have gathered together a team of highly dedicated and experienced sound designers, editors and re-recording mixers, that we see as partners in the creative process. We are devoted to delivering a world class soundtrack - on time and on budget.
Our new purpose built facility is located at Rosebery in Sydney. We are 8 minutes from Fox Studios and just 5 minutes from Sydney airport.
Our fully equipped studio boasts sixteen spacious and comfortable sound and picture editing suites, three 7.1/Dolby Atmos/AR and VR 360 mixing theatres and convenient on site sound design and ADR facilities. We also provide spacious Avid Media Composer picture editing suites with Nexis Storage and on site production office space.
Wayne Pashley
Wayne Pashley is a Sydney based sound designer whose feature film credits include Australian and International titles. Starting his career in sound at the Australian Broadcasting Corporation during the early 1980's, he worked exclusively in drama and on many of the acclaimed mini-series of that time, including Captain James Cook, The Boy in the Bush and Great Expectations.
In 1987, Wayne moved into a freelance career as a sound editor and sound designer, working with some of the finest directors and producers in the film industry. He contributed to the soundtracks of many films including Peter Weir's “Greencard” and “Fearless”, George Miller's “Lorenzo's Oil” and Yahoo Serious’ “Reckless Kelly”.
Libby Villa
Libby Villa also began her career at Australian Broadcasting Corporation during the 1980’s, and it is here that she first worked with Wayne, going on to other noted mini-series including “Act of Betrayal” and “The Bodysurfers” before heading overseas to travel extensively. On her return, she too entered the freelance world and worked on such films as Jane Campion’s “The Piano” and Kevin Reynold’s “Rapa Nui”.
In 1993, on the burgeoning wave of new technology that was just beginning in the film sound industry, Wayne and Libby joined forces, opening the doors of their sound studio, Big Bang Sound Design. Operating initially out of Spectrum Films at Willoughby, they struck out independently in 1999 when they moved to their own premises at Kensington. During this time they continued to work on countless films for both the local Australian film industry and for overseas studios, including Bruce Beresford's “Paradise Road”, Gillian Armstrong's “Oscar & Lucinda” and “Charlotte Gray”, Steve Irwin’s “Crocodile Hunter – Collision Course”, and Baz Luhrmann’s “Australia”.
In 1997 Wayne received local and international recognition for his work on Bill Bennett’s “Kiss or Kill” when he won an Australian Film Institute award for Best Achievement in Sound, and Best Artistic Contribution from the Montreal World Film Festival. A second Australian Film Institute award for Best Achievement in Sound came in 1999 for “In a Savage Land”. He has also received recognition from the British Academy and American Motion Picture Sound Editors Guild for his work on Baz Luhrmann's “Strictly Ballroom”, Chris Noonan's “Babe”, George Miller’s “Babe - Pig In The City” and the Oscar winning motion picture animation "Happy Feet".
By 2009, Wayne and Libby, embarked on the ambitious project of building a sound editing facility from scratch. This would mean they could create a purpose built premises for sound editors to come and work together, at a time when many productions were encouraging people to operate from home. They purchased the property in Rosebery and set about fitting it out, using their years of experience as sound editors to build just the sort of environment they would be happy to work in. It is this idea of a team working together in a creative atmosphere that really complements and enhances any soundtrack by Big Bang Sound Design.
Among many other awards his proudest moment came just recently, when he was the supervising sound editor on the Oscar winning soundtrack of “Mad Max: Fury Road”.
Wayne recently completed work as the supervising sound editor, sound designer and re-recording mixer on Warner Bros “The Lego Batman Movie” and “The Lego Ninjago Movie”, and has just completed Abe Forsythe’s upcoming feature film “Little Monsters”.
After reviewing hundreds of lossless audio tracks over the years, I'm not as easily impressed as I once was, but the Ga'Hoole mix entranced and enthralled me again and again.