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Vita — Filmographie

Fil­mog­ra­phy-Selec­tion (2012 ‑2017)

Schwarz weiss

Tobias Scher­er Dipl. sound mix­er

Sound Super­vi­sor, Re-Record­ing Mix­er, Dia­log Edi­tor

Vita

Her­mann-Hesse-Str. 18

D — 71642 Lud­wigs­burg | Stuttgart

Baden-Würt­tem­berg

Email info@tobias-scherer.com

Mobil +49 1577 5733246

crew-united

Cur­ricu­lum Vitae

Tobias Scher­er was born in Mannheim, Ger­many, in 1987. From 2008–2012 he has been study­ing com­pos­ing in Karl­sruhe (Bach­e­lor of Music) and has been work­ing for three years in the insti­tu­tion of music and acoustics of the ZKM (Cen­trum for Art and Media in Karl­sruhe). After work­ing for operas and the­aters all over Europe, he start­ed com­pos­ing music for films. Since 2012 Tobias has been study­ing at the Fil­macad­e­my Baden-Würt­tem­berg and worked togeth­er with the SWR, BR, Pro7, UFA-Fic­tion, ZDF, ARD and many more. He grad­u­at­ed with a first class degree diplo­ma in April 2015. His main focus lies on re-record­ing mix­ing and dia­log edit­ing. In 2017 he found­ed the „Tobias Scher­er — Audio­post­pro­duk­tion“ com­pa­ny that spe­cial­izes in cre­at­ing audio­vi­su­al illu­sions for movies – from pro­duc­tion sound­mix­ing to foleys, sound­de­sign and re-record­ing mix­ing.

 

Fic­tion:

  • Nicht den Boden berühren (30 min, Direc­tor: Mia Spen­gler, Pro­duk­tion: SWR): sound­de­sign, re-record­ing mix­er (2012)

  • Zwei Müt­ter (75 min, Cin­e­ma-Movie, Direc­tor: Anne Zora Berrached, Pro­duc­tion: ZDF); sound­de­sign (2012)

  • Com­pass (48 min, Direc­tor: Must­ja­ba Almad­looh; Pro­duc­tion: Dubai TV); sound­de­sign, re-record­ing mix­er (2012)

  • Com­ma (35 min, Direc­tor: Must­ja­ba Almad­looh; Pro­duc­tion: Dubai TV); sound­de­sign, re-record­ing mix­er (2012)

  • Life Long (10 min, Direc­tor: Liv Schar­batke; Pro­duc­tion: ARTE, SWR); re-record­ing mix­er (2013)

  • Dr. Ille­gal (TV-Show, approx. 25 min, Direc­tor: Hadi Khan­jan­pour; Pro­duc­tion: UFA-Fic­tion); Loca­tion sound, sound­de­sign and re-record­ing mix­er

  • Der Him­mel zwis­chen den Wel­ten (82 min, Direc­tor: Thomas Szabo; Pro­duc­tion: DieFilm, Pro7); loca­tion sound, dia­log edit­ing and re-record­ing mix­er (2014)

  • NSU Pro­tokolle part 1 (approx. 90 min, Direc­tor: Soleen Yusef; Pro­duc­tion: UFA-Fic­tion, SZ-Mag­a­zin, BR); loca­tion sound (2014)

  • NSU Pro­tokolle part 2 (approx. 90 min, Direc­tor: Soleen Yusef; Pro­duc­tion: UFA-Fic­tion, SZ-Mag­a­zin, BR); loca­tion sound (2015)

  • Mor­ris from Amer­i­ca (approx. 90 min, Cin­e­ma Movie, Direc­tor: Chad Har­ti­gan; Pro­duc­tion: Licht­blick Media, Beach­side Films); loca­tion sound, sound­post­pro­duc­tion (2015)

  • Was kostet die Liebe (approx. 90 min, Direc­tor: Flo­ri­an Knit­tel; Pro­duc­tion: ProSieben Sat1, UFA Fic­tion); loca­tion sound, sound­post­pro­duc­tion (2016)

  • Gefan­gen im Paradies (approx. 90 min, Direc­tor: Felix Her­zo­gen­rath; Pro­duc­tion: UFA Fic­tion, ProSieben Sat1); sound­post­pro­duc­tion (2016)

  • Die Beste Aller Wel­ten (approx. 100 min, Cin­e­ma Movie, Direc­tor: Adri­an Goingin­ger; Pro­duc­tion: Lailaps Pic­tures, Rit­zl­film, ORF und SWR); sound­post­pro­duc­tion (2016)

  • Win­ter­jagd (approx. 80 min, Cin­e­ma movie, Direc­tor: Astrid Schult; Pro­duc­tion: Venice Pic­tures, ZDF); sound­post­pro­duc­tion (2016/2017)

  • Mata Hari (approx. 100 min, Direc­tor: Kai Chris­tiansen, Pro­duc­tion: Vin­cent TV, ARD); sound­post­pro­duc­tion (2017)

  • Pyg­malion (approx. 35 min, Direc­tor: André Hov­en, Pro­duc­tion: Die Cin­emach­er UG, ARTE, Inmo­tion AG); sound­post­pro­duc­tion, re-record­ing mix­er

Doc­u­men­tary:

  • Zirkuskind (25 min, Direc­tor: Chris­tine Schäfer; Pro­duc­tion: Spiegel TV online): loca­tion sound, sound­de­sign, re-record­ing mix­er (2013)

  • Float­ing Like But­ter­flies, Sting­ing Like Bees (82 min, Direc­tor: Jana Bürgelin, Pro­duc­tion: SWR): sound­de­sign, re-record­ing mix­er (2013)

  • Boulevard’s End (15 min, Direc­tor: Nora Fin­gschei­dt; Pro­duc­tion: Holyschmidt­film Berlin): sound­de­sign, re-record­ing mix­er (2014)

  • Life­camp Uyo (30 min, Direc­tor: Jörg Ram­baum; Pro­duc­tion: Schar­batke & Ram­baum GbR): sound­de­sign, re-record­ing mix­er (2014)

  • The Long Dis­tanz (93 min Direc­tor: Daniel Sager, Pro­duc­tion: ZDF): loca­tion sound, sound­su­per­vi­sor, re-record­ing mix­er (2015)

  • Der Per­fek­te Klang (approx. 45 min, Direc­tor: Eliz­a­beth Ham­berg­er, Pro­duc­tion: SWR): loca­tion sound, sound­su­per­vi­sor (2015)

  • 125 Jahre Pfar­rvere­in (ca. 15 min, Direc­tor: Den­nis Scherr, Pro­duc­tion: Peach­es & Cher­ry Film): re-record­ing mix­er

Com­mer­cials:

  • Paulsen (7 min, Direc­tor: Mia Spen­gler): sound­de­sign, music, re-record­ing mix­er (2012)

  • Unesco (7 min, Direc­tor: Alexan­der Lands­berg­er; Pro­duc­tion: Domar Films): music, sound­de­sign, re-record­ing mix­er (2012)

  • dm_MyPlace (3 min, Regie: Max Nie­mann): Loca­tion Sound (2013)

  • APM (3 min, Direc­tor: Dori­an Leb­herz; Pro­duc­tion: Johannes Kunkel Films,): loca­tion sound, foleys (2014)

  • Daim­ler Trucks (Direc­tor: Tom Tra­ber, Pro­duc­tion: Mar­ck 13): loca­tion sound (2013–2015)

  • JAB – Anstoetz (1:30 min, Pro­duc­tion: Julie Boehm and Felix Phale): sound­de­sign, re-record­ing mix­er (2014)

  • WEMPE (ca. 2 min, Pro­duc­tion: Peach­es & Cher­ry Films): sound­post­pro­duc­tion (2015)

  • Berlin­er Lin­ien Busse (ca. 50 sec, Pro­duc­tion: Peach­es & Cher­ry Films): re-record­ing mix­er (2016)

  • RWE – MOM (ca. 6,5min, Pro­duc­tion: Creamino): dia­log edit­ing, re-record­ing mix­er (2016)

  • Fair­port – Air­port Stuttgart ( 7* 60 sec, Pro­duc­tion: Peach­es & Cher­ry Films): re-record­ing mix­er (2016)

  • Clus­ter Com­mu­ni­ty (ca. 90 sec, Pro­duc­tion: Peach­es & Cher­ry Films): re-record­ing mix­er (2016)

  • Inno­gy ( 10 Clips, 1 min, Pro­duc­tion: Cre­an­i­mo): re-record­ing mix­er (2017)

Ani­ma­tion:

  • Mor­phi­um (ITFS-Trail­er, 3 * 1,5 min, Direc­tor: Luis Stet­ter; Pro­duc­tion: Mor­phis Film): Sound­de­sign, re-record­ing mix­er (2012 — 2015)

  • Fantac­i­ty (ITFS-Trail­er, 2 min, Direc­tor: Fer­di­nand Englän­der): re-record­ing mix­er (2013)

  • Sub­way Ride (ITFS Trail­er, 2 min, Pro­duc­tion: Mor­phis Film): re-record­ing mix­er (2013)

  • Glo­bo­som (5 min, inter­na­tion­al FMX – Trail­er; „Dol­by­At­mos“): music mix­ing (2014)

  • Nat­ur­al Attrac­tion (5 min, Dol­by Ani­ma­tion-Trail­er, Direc­tor: Marc Zim­mer­mann): Sound­de­sign re-record­ing mix­er (2015)

  • Break­ing Point ( ca. 1,5 min, Dol­by Ani­ma­tion-Trail­er, Direc­tor: Mar­tin Lapp): Sound­desing, re-record­ing mix­er (2016)

  • Match­win­ner (ca. 4 min, Direc­tor: Linus Stet­ter; Pro­duc­tion: Dis­ney Lon­don, Mark 13 and Mor­phis Film): Sound­de­sign, re-record­ing mix­er (2016)