Attic Sound Ltd
ABOUT ANNA BERTMARK
I’m an award-winning Sound Designer with more than a decade of experience, best known for my work on acclaimed British independent films such as 'God's Own Country' (which won the Best Sound BIFA), 'Lilting' and Lynne Ramsay's acclaimed 'You Were Never Really Here'.
Being one of the few female Sound Supervisors around, I’ve also supervised the sound on the award winning 'Adult Life Skills' (Tribeca FF), 'Rate Me' (Cannes Quinzaine) and BIFA winner 'The Goob'.
I’m drawn to challenging projects with high production values and always work to push the boundaries of film and TV sound. Experienced in every aspect of sound design, from dialogue editing to complete sound post-production supervision, my freelance career is built on a background of working with some of the most respected names in the industry – including Sound Designer Paul Davies (You Were Never Really Here, Hunger, We Need To Talk About Kevin, The Proposition). I'm currently part of the BIFA Nomination Committee and has previously served as Vice Chair of The Association of Motion Picture Sound (AMPS) and been mentored by Dawn Airey (CEO of Getty Images). Working from my fully-equipped Brighton sound studio, I also have access to the best facilities in London and can pull together an expert team from my network of experienced sound professionals. Passionate about contributing to the wider industry and promoting diversity, I mentor several budding sound designers and regularly give talks, university master-classes and curate events. I'm represented by Anna Hird at United Agents for all Head of Department/Sound Supervisory roles. I also co-founded the online network Women Who Are Sound (WWAS).
In Gwen, sound designer Anna Bertmark has a visionary way with everything from the howling hinterland winds to the cries of beasts. As British writer Will Self wrote in his novel Umbrella, "A horse's scream is a fearful thing." Bertmark will leave you convinced. A thunderclap 32 minutes in is quite honestly worth the price of admission.
Rick Kisonak, Seven Days
HOW I WORK
Sound is definitively a team sport.
Although my role is predominantly the Head of Sound, it is ultimately thanks to my collaborative team of sound specialists that the film's soundtrack reaches its peak.
Led by the film director’s vision and keeping the audience's experience in mind, I integrate sound elements and devices that taps into the subconscious and explores the visceral possibilities of cinema. Flexible to the demands of each film, my collaborative approach involves great communication from production to final mix, visits to the film set and unique sound palettes.
For best results, I like to be on-board at an early stage; digesting the script, visiting the filming locations to collect sounds and talking with the director, editor and producers to appreciate the production as a whole. Tailoring my approach for each film, I plan the workflow accordingly and call on my network of industry contacts to build an expert team. I record and collect sounds from top international recordists to give each film a unique sound palette – I never rely solely on existing sound libraries.
I like to start working the sound concepts into the film during the editing process, working through abstract ideas with the director and editor so they can be fully integrated before picture lock. During the sound edit phase, I invite the director to review the progress, so that they are happy and familiar with how the film sounds, before stepping into the mix where we shape and tweak all the sound and music elements.
The result brings the director’s vision to life and gives the audience a lasting, visceral experience.
To discuss a potential project or find out more about working with me, please don’t hesitate to get in touch.