Jan 6, 2014
When we started to put together a production team for our feature film NOW, FORAGER - Jeremy Fleishman was the first person we asked to come aboard. He joined our team as the production sound recordist and stayed throughout post on as the film’s sound editor, designer, and mixer.
We couldn’t have asked for a better collaborator throughout the process, not just in terms of the technical precision and quality of work (which was outstanding) but also in terms of his professionalism and personality. We had a small, family-like crew and Jeremy was a big part of the feel-good vibe that we could look forward to each day onset.
On just about every level, this film relied on subtle details – from dialog, to performances, to cinematography. Working toward a very specific vision for the finished film, we hold sound as equally important to any other component. We knew we could count on Jeremy’s very high standards, his ability to ask for what he needed within reason, and his creative approach to constructing a living world around our characters.
Our collective work on NOW, FORAGER has won nominations and awards, been praised in the mainstream press, and found distribution around the world. The Hollywood Reporter was wise to call out “Jeremy Fleishman's immersive sound-design” in their positive review of the film.
Jeremy will be the first person we call when crewing up our next film. There’s no one we’d rather work with.
Jason Cortlund & Julia Halperin
Directors, NOW, FORAGER
__________
When we started to put together a production team for our feature film NOW, FORAGER - Jeremy Fleishman was the first person we asked to come aboard. He joined our team as the production sound recordist and stayed throughout post on as the film’s sound editor, designer, and mixer.
We couldn’t have asked for a better collaborator throughout the process, not just in terms of the technical precision and quality of work (which was outstanding) but also in terms of his professionalism and personality. We had a small, family-like crew and Jeremy was a big part of the feel-good vibe that we could look forward to each day onset.
On just about every level, this film relied on subtle details – from dialog, to performances, to cinematography. Working toward a very specific vision for the finished film, we hold sound as equally important to any other component. We knew we could count on Jeremy’s very high standards, his ability to ask for what he needed within reason, and his creative approach to constructing a living world around our characters.
Our collective work on NOW, FORAGER has won nominations and awards, been praised in the mainstream press, and found distribution around the world. The Hollywood Reporter was wise to call out “Jeremy Fleishman's immersive sound-design” in their positive review of the film.
Jeremy will be the first person we call when crewing up our next film. There’s no one we’d rather work with.
Jason Cortlund & Julia Halperin
Directors, NOW, FORAGER
January 13, 2014
To Whom It May Concern,
Our films at Pittsburgh Filmmakers’ Production Services each present a unique set of challenges that require production design focused on the client's goals, budget, locations, and schedule. With this in mind, Jeremy Fleishman is always the first choice as sound recordist and sound editor. His command of the technology as it evolves, his flexibility on-set, his commitment in pre-production and his attention to the detail of post-production all mean that when he is available for a job I can be certain that the film will sound clear, high quality, intimate, effortless. His contributions go well beyond the tools he chooses and his performance on set. On set he is a team player, demonstrating genuine sensitivity, interest, and respect for the work at hand. His sound editing is miraculously undetectable, but adds a sweetness of tone and temper that reveals the subtle and beautiful art of sound.
I have and will continue to re-arrange many of my productions to fit into Jeremy's schedule. Our collaboration over a few short years has meant that with a small production crew we have been able to make a great impact in our region. Our work has been shown at museum retrospectives, launched interactive web campaigns, broadcast on our local station WQED, and gone viral. Because of his ideas and superior craft I have been able, continually, to raise the bar for our clients while producing work that is evergreen, elegant, and impressive.
Please feel free to contact me if you have any further questions.
Sincerely,
Gretchen Neidert, Senior Producer
Pittsburgh Filmmakers Production Services
To Whom It May Concern,
Our films at Pittsburgh Filmmakers’ Production Services each present a unique set of challenges that require production design focused on the client's goals, budget, locations, and schedule. With this in mind, Jeremy Fleishman is always the first choice as sound recordist and sound editor. His command of the technology as it evolves, his flexibility on-set, his commitment in pre-production and his attention to the detail of post-production all mean that when he is available for a job I can be certain that the film will sound clear, high quality, intimate, effortless. His contributions go well beyond the tools he chooses and his performance on set. On set he is a team player, demonstrating genuine sensitivity, interest, and respect for the work at hand. His sound editing is miraculously undetectable, but adds a sweetness of tone and temper that reveals the subtle and beautiful art of sound.
I have and will continue to re-arrange many of my productions to fit into Jeremy's schedule. Our collaboration over a few short years has meant that with a small production crew we have been able to make a great impact in our region. Our work has been shown at museum retrospectives, launched interactive web campaigns, broadcast on our local station WQED, and gone viral. Because of his ideas and superior craft I have been able, continually, to raise the bar for our clients while producing work that is evergreen, elegant, and impressive.
Please feel free to contact me if you have any further questions.
Sincerely,
Gretchen Neidert, Senior Producer
Pittsburgh Filmmakers Production Services
__________
December 20, 2006
To whom it may concern,
I am writing to recommend Jeremy Fleishman as a sound mixer, sound editor or all-around sound designer for documentary films.
I had the pleasure of working with Jeremy on my film August In the Empire State, which premiered on the Sundance Channel in October 2006. Jeremy committed himself and brought an instinctive and focused creativity to the film. In about a week’s time, he managed to design and mix the entire thing– a feat that was complicated by the fact that the film was shot in very difficult sound situations.
Being an editor myself, I had struggled with cleaning up the audio on this film. But after handing it off to Jeremy, I was amazed at how much he was able to accomplish in such a short time. I have worked with many sound mixers and editors over the past decade and none of them brought as much dedication and talent to any of my independent films and television projects. I would highly recommend him for any position in the post-sound industry.
Sincerely,
Gabriel Rhodes
Co-Director, August in the Empire State
To whom it may concern,
I am writing to recommend Jeremy Fleishman as a sound mixer, sound editor or all-around sound designer for documentary films.
I had the pleasure of working with Jeremy on my film August In the Empire State, which premiered on the Sundance Channel in October 2006. Jeremy committed himself and brought an instinctive and focused creativity to the film. In about a week’s time, he managed to design and mix the entire thing– a feat that was complicated by the fact that the film was shot in very difficult sound situations.
Being an editor myself, I had struggled with cleaning up the audio on this film. But after handing it off to Jeremy, I was amazed at how much he was able to accomplish in such a short time. I have worked with many sound mixers and editors over the past decade and none of them brought as much dedication and talent to any of my independent films and television projects. I would highly recommend him for any position in the post-sound industry.
Sincerely,
Gabriel Rhodes
Co-Director, August in the Empire State
__________
December 20, 2006
Leafing through his library of films organized by sound categories, “This one is incredible, they recorded the foley in 2 days... they didn’t sleep... and this one, we recorded in 6 days.... no sleep! With a grin, he pointed to the tiny letters at the back of the DVD...SoundDesign- Jeremy Fleishman.
Jeremy Fleishman designed the sound on my award winning feature documentary Palestine Blues. I knew Jeremy was the right person for my film after our first screening together. Constantly taking notes while he watched, you could hear his mind working, adding a bird’s chirp here and an engine starting up there, I realized that he works like a sculptor, creating space by adding off-screen sounds. Jeremy’s contribution added depth of meaning and brought the film alive in ways I hadn’t imagined. His intuitive skill is matched by his tremendous knowledge of sound design technologies and keeping a balance between the two is a rare quality that makes working with Jeremy such a rewarding pleasure. I look forward to working withhim again.
Nida Sinnokrot
Filmmaker
__________
To Whom It may Concern,
Jeremy Fleishman worked as a sound designer on my feature film, Underdogs, in 2005. He was incredibly resourceful and imaginative as well as being technically precise and detailed in his work. He showed a sensitivity to my work as well as making great suggestions I had not thought of to add to the movie's atmosphere. This combination of skills is not always easy to find!
It was also a pleasure to work with Jeremy as he had a great sense of humor and was excelllent in stressful situations.
Subsequently, everyone who worked in post commented that the sound quality was clean and well balanced.
I would recommend Jeremy wholeheartedly to anyone looking for a sound designer and would add that they are in for a very pleasant experience.
Yours sincerely,
Silvana Jakich
Jeremy Fleishman worked as a sound designer on my feature film, Underdogs, in 2005. He was incredibly resourceful and imaginative as well as being technically precise and detailed in his work. He showed a sensitivity to my work as well as making great suggestions I had not thought of to add to the movie's atmosphere. This combination of skills is not always easy to find!
It was also a pleasure to work with Jeremy as he had a great sense of humor and was excelllent in stressful situations.
Subsequently, everyone who worked in post commented that the sound quality was clean and well balanced.
I would recommend Jeremy wholeheartedly to anyone looking for a sound designer and would add that they are in for a very pleasant experience.
Yours sincerely,
Silvana Jakich
__________
December 7, 2004
Although Jeremy has worked at my studio on various smaller projects it was my personal experience with him on a feature film that allows me to give him my enthusiastic support. I was the re-recording mixing for the film titled “The Slow Business of Going,” which was directed by Athina Rachel Tsangari who was teaching at the University of Texas at the time. The film was part narrative, part experimental with a number of animation sequences. It had a large sound design but a very limited budget. Jeremy was the sound editor and sound designer, and he did an excellent job. The sound design contained many wonderful details that Jeremy had recorded, processed and edited. Some of the production mixing had been poorly recorded, but Jeremy figured out creative ways to use sound to mask the background noise. Jeremy also did an excellent job of pre-mixing to save time during the final mix. Because we had to make a film festival deadline it was a tense mix period. To Jeremy’s credit, his organization and excellent work made it possible for me to mix the film in only six days.
It was a short time, but I saw Jeremy work under a great deal of pressure with unexpected technical problems. He nonetheless maintained his good humor and good sense. He was able to stay organized and on track, yet also provided new sound design elements up to the last day of the mix. This degree of dedication is amazing since he was still a film student at the time and had never undertaken anything like this before. His intuition and ability to organize made up for his lack of experience. In the many years that I have worked as a mixer for projects coming from the University of Texas, Jeremy is one of the best students from the University that I have encountered.
Please feel free to call me with any further questions you might have.
Sincerely,
Tom Hammond
Supervising Sound Editor/Sound Designer/Re-recording Mixer
Soundcrafter Studios, Austin
http://www.soundcrafter.com/
Although Jeremy has worked at my studio on various smaller projects it was my personal experience with him on a feature film that allows me to give him my enthusiastic support. I was the re-recording mixing for the film titled “The Slow Business of Going,” which was directed by Athina Rachel Tsangari who was teaching at the University of Texas at the time. The film was part narrative, part experimental with a number of animation sequences. It had a large sound design but a very limited budget. Jeremy was the sound editor and sound designer, and he did an excellent job. The sound design contained many wonderful details that Jeremy had recorded, processed and edited. Some of the production mixing had been poorly recorded, but Jeremy figured out creative ways to use sound to mask the background noise. Jeremy also did an excellent job of pre-mixing to save time during the final mix. Because we had to make a film festival deadline it was a tense mix period. To Jeremy’s credit, his organization and excellent work made it possible for me to mix the film in only six days.
It was a short time, but I saw Jeremy work under a great deal of pressure with unexpected technical problems. He nonetheless maintained his good humor and good sense. He was able to stay organized and on track, yet also provided new sound design elements up to the last day of the mix. This degree of dedication is amazing since he was still a film student at the time and had never undertaken anything like this before. His intuition and ability to organize made up for his lack of experience. In the many years that I have worked as a mixer for projects coming from the University of Texas, Jeremy is one of the best students from the University that I have encountered.
Please feel free to call me with any further questions you might have.
Sincerely,
Tom Hammond
Supervising Sound Editor/Sound Designer/Re-recording Mixer
Soundcrafter Studios, Austin
http://www.soundcrafter.com/