Crafting Sound for Story, Space and Screen
Meet Mai Ji, Sound Designer for the ARTS2065 Korean Film Remake group project and a third-year Screen Production Bachelor student at UNSW. From location recording and sound plans to ambient sound, foley, remixing and post-production collaboration, Mai shapes audio that supports every scene.
Explore the pre-production materials to see the sound workflow, responsibilities and project outcomes, then visit the Korean Film Remake project overview for more information.
Mai Ji — Sound Designer
I’m Mai Ji, a third-year Bachelor of Arts and Screen Production student at UNSW and the Sound Designer for the ARTS2065 Korean Film Remake group project. I shape the project’s sonic world through attentive location recording, ambient sound, foley, and thoughtful collaboration with the Director and Editor.
My workflow spans pre-production planning, on-set sound capture, post-production co-editing, original music remixing, and soundtrack copyright claims. I focus on how sound supports character, setting, pacing, and emotional impact—from the first production plan through the final mix.
Sound design skills
- Location sound recording and workflow planning
- Ambient sound and foley creation
- Post-production editing and co-editing
- Director and Editor collaboration
- Original music remixing and soundtrack copyright management
Sound Design Practice
Mai Ji is the Sound Designer for the ARTS2065 Korean Film Remake group project. This portfolio section traces the sound workflow from pre-production planning through recording, editing, music, and final delivery.
Pre-production Sound Planning
I prepare sound breakdowns, identify dialogue, ambience, foley, music, and copyright considerations, then plan recording needs with the Director and production team.
Location Recording, Ambience & Foley
On set, I capture clean dialogue and location sound with a microphone and recorder setup suited to each scene. I also collect ambient textures and create foley to strengthen the remake’s world.
Post-production Sound & Music
I edit and organise tracks with the Editor, respond to the Director’s creative direction, remix original music, and check soundtrack copyright claims before preparing the final sound mix.
Mai Ji — Sound Design Process
Pre-production sound planning
Sound planning for the ARTS2065 Korean Film Remake group project, including scene breakdowns, location notes, equipment needs, recording schedules, ambience references, and foley priorities.
Location recording and ambience
On-set location recording focused on clean dialogue, room tone, and usable ambient sound. I coordinated practical capture with the Director and production team to support the edit.
Post-production, foley and music
I worked with the Editor and Director on sound editing, foley, ambience layers, and an original music remix. Copyright research and soundtrack claims were considered before final delivery.
Korean Film Remake: Project Notes
Follow Mai Ji’s sound design journal for the ARTS2065 Korean Film Remake group project. Explore pre-production planning, location recording, foley, soundtrack decisions, collaboration, and final mixing. View the wider group-project assessment on the Korean Film Remake Google Site.
Building the Sound Plan
Recording Atmosphere on Location
From Foley to Final Mix
Copyright and Soundtrack Considerations
Let’s connect about sound design
Tell me about your production, collaboration idea, or portfolio feedback. I’m Mai Ji, Sound Designer for the ARTS2065 K-film Remake group project and a third-year Screen Production student at UNSW.
For more information about the group project, pre-production materials, and my role, please visit the Korean Film Remake Google Site.