DRIVE MY KART
When I joined the documentary Drive My Kart as the sound recordist and sound designer, I knew I was stepping into a uniquely chaotic challenge. Kart racing is fast, loud, and unpredictable—three things that make clean sound recording a near-impossible task. But I also knew that if we could pull it off, the result would be something special.
From the very first shoot, I was up against relentless noise: engines revving, tires screeching, the echo of open tracks, and the constant murmur of spectators and team chatter. Traditional boom mic setups were often unusable due to sheer volume levels and wind interference, and lavalier mics needed extra shielding and clever placement just to survive the environment.
Still, I was determined. I experimented with mic types, placements, and shielding techniques to capture as much clean, usable sound as possible in real time. I even set up remote rigs to get isolated recordings of the engines, track ambience, and off-track interviews. It was a logistical puzzle every day, and I was constantly adjusting on the fly.
But the real magic happened in post.
Back in the studio, I had hours of raw sound—some of it clean, much of it messy. Through detailed editing, noise reduction, layering, and sound design, I began to rebuild the sonic environment from the ground up. I shaped the roar of the track into a character of its own, enhanced emotional beats with subtle sound cues, and made sure that every conversation and human moment cut through the mechanical chaos.
The goal was never to mute the noise—it was to harness it. I wanted the audience to feel like they were right there on the tarmac, inside the moment, without ever losing the heart of the story.
In the end, all the effort paid off. Drive My Kart went on to win multiple awards across England, including Best Student Documentary at Leeds 2024. It was a proud moment—not just because of the recognition, but because it proved that even in the most challenging environments, sound can tell a story just as powerfully as any image.
Working on this film reminded me why I love sound—it’s not just about what you hear. It’s about how it makes you feel, and how, when done right, it pulls you deeper into the world of the film.