This was an unprecedented hidden-camera show. Think “The Truman Show” but on steroids. We had a volunteer who spent THREE WEEKS thinking he was participating in a jury trial, in a courthouse, with an actual judge, and a motley crew of jurors. Little did he know everyone he interacted with was an actor, and that the whole thing was fake.

Our hero was a good sport, and he never once suspected anything, which is a testament to the cast and crew’s efforts to fool him throughout production.

The sound team had their work cut out for them. We had to deal with practical locations, logistics and the inability to fix issues once the action started. Every take you see on the screen is the first –and only– take that was filmed. I’m extremely grateful to my team, Dan Kelly and Jennifer Zhang, for making us sound as good as we did.

This was definitely one of the most rewarding projects I’ve ever worked on.

It was a pleasure to be chosen to provide production sound for this reboot of a popular comedy show - and also had the good fortune to be joined by an amazing sound team, without which it would have been impossible to do justice to the amazing and witty cast, who had us in stitches during the whole shoot.

In all seriousness, though, the main challenge in this project, and the reason why I’m so proud of our work, is because there weren’t many second chances - every take was a nugget of golden comedy, which we took pain to preserve with the best quality possible.

I can’t thank Yancey Pon Franco and Denis Perez enough for being the best sound team anyone could ever wish to have.

Bert Kreischer is a hilarious standup comedian, and he has quite a number of talented actor and comedian friends, many of whom agreed to join him on this romp.

I’m not going to lie: it was hard to keep up with this cast. Everything about this project was highly unpredictable. We did know at what time we started working, and we knew where we would be working - other than that, though, we quickly learned that anything was possible, and that we’d be along for the ride.

Having an incredibly experienced and capable team made all the difference: kudos to Raam Brousard and Dan Kelly for joining me on this adventure.

For Rel Howery’s comedy special, HBO wanted a gritty, urban setting. The chosen site is a Los Angeles landmark: the Basketball gym at the Susan Miller Dorsey High School, where several films and TV shows have been filmed.

The location demanded an unusually high number of microphones and a number of logistical challenges, not the least of which was Director Jerrod Carmichael’s decision to shoot in 35mm film.

Fortunately, our producers understood how important it was to give us all the tools we needed to do our best. I’m quite proud of this project, because our team (comprised of myself, Sabi Tulok and David Cook) was able to offer outstanding production sound, and it shows on the finished product.

This commercial, starring Hollywood legend Jeff Bridges and NFL star Quarterback Tom Brady, is a tongue-in-cheek look at life in the slow lane. We recorded Jeff's singing and his guitar live on location, during a typically challenging filming schedule. We were not able to place a microphone inside Jeff's guitar, which would have been ideal to avoid ambient noise, but creative use of boom microphones and an amazing rigging and prop crew helped us achieve the sound you hear in the finished piece.

In this series of commercials starring Jeff Goldblum, we worked with animals, toddlers and an army of Special Effects artists, which kept us on our toes - the shooting schedule was hectic and we had to deploy all the toys in our arsenal to stay ahead of the curve. Throughout it all, though, Mr Goldblum kept improvising, tap-dancing and playing "six degrees of Kevin Bacon," entertaining his cast members and the Sound Department.

Martell Cognac produced a series of videos to launch its “Caractère” brand, featuring up-and-coming artists. I was hired to record singer-songwriter Gustavo Galindo’s spot, which included an acoustic set on a Los Angeles rooftop. We had only a few hours to set up on a very windy day, and there was no time for a proper sound check. The end result has the original tracks recorded on the shoot, with no overdubs.

For this Nissan TV spot, we were given one of only two pre-production Maximas available –and only a handful of hours– during a nighttime shoot in downtown Los Angeles, to record all the required engine and interior sounds. We installed three microphones in the engine bay, three in the interior and two near the exhausts. With a precision driver at the helm, and under the watchful ears of the agency staff, we were able to deliver all our tracks, with half an hour to spare.