01 — Online course · Live virtual and recorded · Two weeks on location in London
Sound Post-Production for Film & TV · Online course
Dialogue, ADR, sound design, Foley, stereo and Dolby Atmos mixing, delivered to broadcast and cinema standards. Written by Scott Marshall, award-winning sound designer and industry professional, and previous Head of Post-Production and Spatial Audio / Dolby Atmos at ICMP London.
Next cohort starts January 2027 · Small cohorts of around 10
◆ Written & led by an award-winning sound designer
◆ EBU R128, DPP & streaming delivery specs
◆ Dolby Atmos & spatial audio in the box
◆ Site visits & work experience in London post houses
02 — Overview
Post-production sound is where a film or programme is finished. This course takes you from a raw picture lock to a delivered mix: cleaning and editing dialogue, recording ADR and voice-over, building sound design and Foley, then mixing in stereo, 5.1 and Dolby Atmos to the specs broadcasters and streamers actually ask for.
Every module ends with a practical exercise on real footage, so by the end you have a portfolio of finished scenes and a complete short-form mix to show.
Editors and filmmakers who want to finish their own sound properly.
Music producers and engineers moving into post and broadcast.
Audio graduates and juniors building a post-production portfolio.
03 — Curriculum
The structure follows a real post schedule: standards and workflow first, then dialogue, effects and Foley, then the mix. Ten weeks are taught online, two three-hour lectures a week, each pairing teaching with a practical workshop on supplied footage and course work submitted as you go. The final two weeks are vocational, on location at industry studios.
WEEKS 1–2 · ONLINE
What post-production is and how a sound department is organised. Broadcast and film technical standards, EBU R128 loudness, deliverables and stems. Critical listening, psychoacoustics and spatial perception. Session management and template building in Pro Tools.
3 lecturesWEEK 2 · ONLINE
Editing to picture, OMF and AAF conform, track layout and routing for post. The broadcast signal path, bussing and monitoring. Advanced automation mixing and the shortcuts that make a post editor fast.
1 lectureWEEKS 3–5 · ONLINE
Dialogue editing in Pro Tools, room tone and fills. Advanced noise reduction and restoration with iZotope RX. ADR recording techniques, editing and sync. Narration and voice-over recording for TV and commercials. Dialogue pre-mixing.
5 lecturesWEEKS 5–6 · ONLINE
Location and field recording. Creating soundscapes and atmospheres. Sound effects design, editing and manipulation with plugins and synthesis. Tracklay techniques and analysing classic and contemporary film sound.
3 lecturesWEEK 7 · ONLINE
Microphone technique for Foley. Performing footsteps, cloth and props to picture in a home setup. Editing, sync and mixing Foley into the scene.
2 lecturesWEEKS 7–8 · ONLINE
Short-form and commercial editing and mixing. Stereo mix workshops on a full scene. Mastering for streaming platforms, R128 mastering chains, podcast and Spotify ad delivery. Reading a DPP delivery spec.
2 lecturesWEEKS 9–10 · ONLINE
5.1 and cinema sound, the final mix and re-mastering. Mixing in Dolby Atmos with the Pro Tools renderer across three workshops. Spatial audio for VR and AR, Ambisonics and binaural delivery.
4 lecturesWEEKS 11–12 · ON LOCATION, LONDON
Two weeks on location at working post-production studios. Studio visits, time in a professional mix room, sitting in on sessions, and work experience placements where available. How the post industry hires, rates and freelancing, building a showreel, and a one-to-one tutorial on your final mix and your next move.
2 weeksFull session-by-session syllabus available on request.
Request the full syllabus →04 — How it works
Two three-hour lectures a week for ten weeks, screen-shared from a working Pro Tools session. Attend live virtually, and every lecture is recorded to watch again when it suits you.
Picture-locked scenes, ADR scripts, templates and cue sheets supplied for every exercise, so you practise on real material.
Mixes reviewed in group playback sessions and a one-to-one tutorial, with written notes you can act on.
Course work assessed to industry standards throughout, a BCVR certificate on completion, and a set of finished scenes, stereo and Atmos, for your reel.
Scott works in the industry and the course is built around his ties to it. After the ten online weeks, the cohort spends two weeks on location at working post-production studios in London: site visits, on-site sessions in a professional mix room, and work experience opportunities for students who want to take the next step.
Good working experience in a DAW, preferably Pro Tools; a computer running Pro Tools Artist or Studio; headphones or monitors; and a microphone for the ADR and Foley exercises. iZotope RX Elements or above recommended. The two vocational weeks take place in London; travel and accommodation are at your own cost.
05 — Your tutor
Scott is an award-winning sound designer and industry professional, and previous Head of Post-Production and Spatial Audio / Dolby Atmos at ICMP London, where he taught post-production sound to undergraduate and industry cohorts for over a decade.
Outside the classroom he is founder and Creative Director of BCVR Immersive, producing immersive experiences, spatial audio and XR installations for brands and cultural venues, with work recognised at Cannes XR and the V&A London Design Festival. His twenty-plus years in post-production span film, broadcast and commercials, from dialogue editing and ADR supervision to Dolby Atmos mixing.
06 — Enrol
Places are confirmed on payment of a deposit. If the cohort does not run, the deposit is refunded in full.
No certificate, but you need good DAW experience, preferably in Pro Tools, so the course can start with post-production rather than the basics of the software. You should be comfortable building sessions, editing clips and running a basic mix. If you are coming from Logic, Cubase, Reaper or another DAW, tell us on your application and we will point you to a short Pro Tools primer before the start date.
The Atmos modules use the Dolby Atmos renderer built into Pro Tools Studio and binaural monitoring on headphones, which is how a growing share of Atmos work is actually done. You learn the object and bed workflow, panning, and the delivery formats at your own desk, then hear your mixes in a real theatre during the two vocational weeks in London.
Not for the first ten weeks, which are fully online. Weeks 11 and 12 are vocational and take place on location at post-production studios in London, so you will need to be in London for those two weeks. Dates are confirmed at enrolment so you can plan travel.
Every lecture is recorded and available the next day, with the session files and exercise footage. You can still submit the exercise for feedback.
No. This course is focused on linear post-production for film, television, streaming and commercials, plus spatial audio for VR and AR. Interactive and game audio middleware is not part of the syllabus.
Yes. The fee can be paid in full, or as a deposit followed by monthly instalments across the course. Details are sent with the syllabus.
