Hello, my name is Johannes Rasmus Rose.
I was born in 1993 and grew up in the countryside on Falster, and now live in Copenhagen.
I work as a sound designer and recordist.
In 2013, I finished high school, and was off to find out what my path should be and what made me happy to do.
After a short while I stumbled upon a job offer at the studio Mainstream.
Mainstream was, and still is, a very renowned film sound studio.
I applied and soon found myself in a field and business full of people who love what they do and look forward to go to work every day.
That’s what I love about what I do.
After 2,5 years of working at Mainstream I developed a highly effective and useful skill set. In this period I was involved in multiple tv-series, feature films, and documentaries.
In 2015, I started at The National Film School of Denmark, and studied sound design for 4 years.
I graduated in 2019 and have since been working both as a sound designer and recordist.
Sound is the most unfiltered way into a persons emotions.
Great sound can tell emotions without the listener being aware, by altering the reality, we can shift the perspective and guide the listener.
Great sound design is often experienced as the last piece of a puzzle that makes all the other pieces fit together.
It will bind a story together, move emotions between scenes and guide the audience through the narrative of the film.
Great sound design is about precession and skilful execution.
Sound design should be guided by the story and the emotions, not by reality or visuality.
Sometimes the right sound isn’t the real sound, so more often than not it’s about playing around to find out what fits.
When it comes to the recording of sound, I believe in the importance of recording as close to the end result as possible. By that I mean, the less post production of sound, the better. With that approach I believe you end up freeing both time and resources, which you then can then use to focus on bettering the story instead of making sound sound right.
This applies to productions sound recording as well as effects, foley, background and so on.
Our job should be to tell stories and not to fix bad recordings.
It all starts in front of the microphone.