Sahil padhiyar
On-Location Mixer/ Foley Engineer/ Dolby Atmos/ Mixing Enginner/ Composer
Every frame composed.
Every sound designed.
Every story felt.
I’m Sahil Padhiyar, a passionate sound engineer with over five years of experience in sound design, Foley, mixing, and on-location recording. I’ve worked on projects like The Unknown Soldier, IASOA – It All Starts Over Again, and Spirit to Break, collaborating with directors worldwide to deliver exceptional audio experiences.When I’m not crafting soundscapes, I enjoy exploring graphic design as a creative hobby, blending visuals with storytelling to fuel my artistic side.
Graphic Designer/ Video editor
As a graphic designer and video editor, I’ve worked across a range of creative projects—from promotional content to storytelling-driven videos. Whether it’s motion graphics, brand identity visuals, or short-form edits, I focus on combining visual clarity with emotional resonance. My design work is guided by clean aesthetics and purposeful composition, while my editing style emphasizes rhythm, story flow, and visual coherence.
Audio production Projects
This portfolio highlights a range of work across audio post-production, video editing, directing, and commercial production. Whether contributing Foley and sound design to film, producing community-focused videos, or supporting branded content shoots, I approach each project with creativity, precision, and a focus on storytelling. Explore the featured work to see how I bring sound and visuals together to support diverse narratives and audiences!
Dragon's Breath
On-Location Sound Recordist | Boom Operator
Directed by Alessandro CerulloCerullo Cinema
Working on Dragon’s Breath as the On-Location Sound Recordist and Boom Operator was an intense and rewarding experience. The film featured dynamic action sequences and emotionally charged performances, which required precision in capturing clean dialogue under challenging on-set conditions. I was responsible for monitoring and adjusting live audio, managing equipment setup, and ensuring minimal interference from ambient noise.Collaborating closely with the director and camera team, I adapted quickly to changes in blocking and lighting to ensure microphone placement remained discreet yet effective. This project allowed me to push my technical skills while maintaining creative sensitivity to the scene’s mood and performance rhythm.
Crouch neighbourhood resource centre
On-Location Sound Recordist | Video Editor
Working with Crouch Neighbourhood Resource Centre allowed me to contribute to a meaningful initiative that supports families, youth, and seniors in the local community. My role as a Video Editor and Sound Mixer involved crafting visual narratives that showcased the centre’s impact across various outreach programs, including mental health workshops, youth activities, and community events.I was also responsible for assembling interviews, community footage, and archival material into cohesive stories that resonated emotionally with viewers. This included color correction, typography design, and mixing audio for clarity and warmth, particularly when working with a wide range of voices and recording environments.In addition to post-production, I collaborated with the communications team to design motion graphics and branded assets for social media, helping extend the reach of the centre’s message. This experience deepened my understanding of storytelling in a nonprofit context, where authenticity and empathy are just as important as polish and pacing.
Coke COMMERCIAL
Video Production
TThis project was a student-led commercial concept inspired by Coca-Cola’s branding, designed to mimic the cinematic, high-energy style the brand is known for. While not officially affiliated with Coca-Cola, the aim was to challenge ourselves to meet professional commercial standards in a speculative format.
My role in the project focused on on-set video production support, where I helped with visual planning, lighting setup, and assisting camera and direction teams during high-speed, tightly timed shots. The commercial concept emphasized motion, emotion, and brand storytelling—requiring strong coordination between visual framing and practical effects (such as pouring drinks and slow-motion action).Though brief, this project taught me how to work within a commercial production environment, where timing, framing, and brand tone need to align seamlessly. It also strengthened my collaborative instincts under pressure—key when dealing with stylized lighting setups, product closeups, and pacing cues that mimic real commercial workflows.
Jess jones recreation therapy
Video editor | director
My work with Jess Jones Recreation Therapy blended creative production with social awareness. As both Video Editor and Director, I helped conceptualize and produce visual content that aligned with JJRT’s mission: to promote inclusion, therapeutic recreation, and mental wellness.I directed and edited a series of informative and uplifting videos tailored to a diverse audience—including people with disabilities and their support networks. The editing process involved a careful balance of visuals, voiceovers, subtitles, and ambient sound to ensure accessibility and emotional clarity.A key highlight of this role was understanding how to frame stories not just with aesthetic intent but also with therapeutic purpose. I worked closely with Jess and her team to ensure that each video respected the lived experiences of the individuals involved, while still maintaining a clean, professional presentation that could be shared with clients, sponsors, and educators.This project refined my skills in ethical storytelling and taught me how to lead with purpose when crafting content for wellness and advocacy.
post production
foley artist | dialogue editor
As a Foley artist, I’ve had the privilege of working on a range of narrative films, where I recreated and enhanced everyday sounds to bring life and texture to each story. Foley is a deeply creative and hands-on process, and it’s one of my favorite disciplines within post-production audio.My work has included:- Recording custom footsteps, cloth movements, object handling, and environmental textures in sync with picture- Using a variety of props and surfaces to replicate everything from subtle gestures to action-heavy scenes- Editing and layering Foley recordings to match natural acoustics, scene mood, and spatial positioning- Collaborating closely with directors and sound designers to ensure each sound complements character movement and emotional beatsProjects I’ve contributed to Foley for include dramatic shorts, indie features, and documentaries—each one offering its creative challenges. Whether it’s the creak of an old floorboard, the weight of a leather jacket, or the soft thud of a book closing, I approach every sound with purpose and narrative intent.Foley isn't just about realism—it's about emotional storytelling. I take pride in crafting sounds that audiences don’t consciously notice, but would feel lost without.
FRAT – The Art of Partying
On-Location Sound Recordist | Boom Operator | Post-Production Sound Designer
Directed by Damian Rose
I had the exhilarating opportunity to contribute to the pilot film FRAT – The Art of Partying, a bold and high-energy production directed by Damian Rose and filmed in the vibrant core of Toronto. As the on-location sound recordist and boom operator, I worked in fast-paced, unpredictable environments, capturing raw, authentic audio that matched the film’s chaotic and immersive vibe.My role extended into post-production, where I took on Foley design, post mixing, and mastering. Crafting the sonic texture from the ground up allowed me to shape a fully immersive soundscape that supports and enhances the film’s dynamic narrative.Working under Damian’s direction was both creatively fulfilling and technically challenging—an experience that pushed my skillset and deepened my passion for cinematic sound. I’m incredibly proud of the work we accomplished together and can’t wait to see how FRAT resonates with audiences when it’s finally released.
IASOA – It All Starts Over Again
On-Location Sound Recordist | Boom Operator | Post-Production Sound Designer
Directed by Alessandro cerullo
IASOA – It All Starts Over Again, directed by Alessandro Cerullo, was one of those rare projects that lets you dive deep into the craft. I had the privilege of working on it from start to finish — capturing production audio on set as a boom operator and sound recordist, and later shaping its sonic identity in post as the sound designer.Though filmed in a closed interior location, the nearby airport brought its own acoustic hurdles. Still, those challenges became part of the creative process, pushing me to find clean pockets of sound and build a subtle yet immersive atmosphere around the performances.Being involved in both the technical and creative sides of sound gave me a full-circle experience — and I’m truly proud of the work we’ve done on this one.
TUS - The Unknown Soldier
On-Location Sound Recordist | Boom Operator | Post-Production Sound Designer
Directed by Javier Alfaro and Aviel Kurulkarare you bored yet productions | kiss international media
The Unknown Soldier was one of the most technically and creatively enriching projects I’ve had the opportunity to be part of. From the very beginning, I was involved in the film's sound journey, first as the On-Location Sound Recordist and Boom Operator, and later transitioning into the role of Post-Production Sound Designer.During the shoot, my primary responsibility was to ensure clean, consistent audio capture in real time, often under unpredictable and emotionally intense settings. The film’s themes demanded intimacy and realism, which meant I had to be hyper-aware of ambient sounds, dialogue clarity, and boom positioning—all while adapting quickly to shifting lighting setups, camera movements, and actor blocking. Working closely with the director and DP, I made sure that sound was never an afterthought, but an integral part of the storytelling as it unfolded on set.Once production wrapped, I stepped into post-production, where I was responsible for shaping the film’s sonic atmosphere. As the Sound Designer, I crafted layers of Foley, environmental ambience, and abstract textures that reflected the inner world of the characters. The soundscape had to walk a delicate line—evoking emotion, tension, and memory—without overwhelming the performances. I also handled dialogue editing, noise reduction, and spatial mixing to create a cohesive, immersive experience that supports the narrative arc.Working across both production and post gave me a rare full-circle view of how sound functions within a film—from raw capture to final polish. It also deepened my collaborative process with the director, editors, and colorists to ensure that the audio and visuals felt in sync emotionally and rhythmically.The Unknown Soldier is not just a film I worked on—it's one I feel deeply connected to through every rustle, breath, and distant echo. It pushed me to refine my craft, trust my instincts, and most importantly, listen—both to the story and to the people telling it.
Toronto - 48 hour Film Challenge
On-Location Sound Recordist | Boom Operator | Post-Production Sound DesignerTHE HIDDEN LAMP | PASSION FOR THE ARTS
Participating in 48-Hour Film Challenges has been one of the most intense and rewarding aspects of my journey as a sound professional. These projects demand not only technical precision under pressure but also a deep sense of creative intuition—all compressed into a two-day whirlwind of storytelling. I’ve served as both On-Location Sound Recordist and Post-Production Sound Designer on multiple entries, often stepping into overlapping roles to keep pace with the timeline.On set, the urgency of the challenge means there’s no margin for error. I’m responsible for ensuring clean dialogue, managing environmental noise, and capturing all essential sounds with minimal takes and maximum awareness. With limited rehearsal and constant adjustments in lighting, framing, and performance, I’ve learned to anticipate movement, read the rhythm of a scene, and respond instantly. Every decision—from boom placement to mic choice—must serve both practicality and storytelling.Once the footage is wrapped, the race shifts to post-production. Here, I design soundscapes that elevate each moment without overwhelming the edit. With hours ticking away, I sculpt atmospheres, Foley layers, and subtle tonal cues that add weight to the visuals. I also handle dialogue clean-up, audio syncing, and mixdowns—often through the night—working closely with editors and directors to lock in the final sound before the clock runs out.These challenges have sharpened my problem-solving skills and deepened my ability to collaborate under pressure. But more than that, they’ve reinforced why I do this work: because sound, even in the fastest of turnarounds, has the power to ground emotion, enhance pacing, and bring a story to life. The 48 Hour Film Challenge is never just a sprint—it’s a full-throttle test of passion, instinct, and trust in the team.
About me
My journey in sound engineering began in India, where I discovered my passion for music composition and audio production. I started at Pocket FM, a leading audiobook company, as a music composer and Foley editor. My dedication and expertise earned me a promotion to team lead within a year, where I managed complex projects and refined my skills.Driven by a desire to expand my horizons, I moved to Canada to pursue a Post-Production diploma at Fanshawe College, graduating with distinction on the President’s Honour Roll. Since then, I’ve worked on numerous projects, including the films FRAT – The Art of Partying and IASOA – It All Starts Over Again, and the inspirational documentary Spirit to Break.Currently, I’m contributing my expertise to The Unknown Soldier, a short film directed by Aviel Kurulkar, known for works like Beast Games, Murdoch Mysteries, and Advaitha, and Javier Alfaro, an award-winning filmmaker who earned the Audience Choice Award at the 48 Hour Toronto Film Project.My journey from India to Canada has been one of continuous growth, blending technical mastery, creative artistry, and global collaboration to elevate every project I undertake.
Contact
Whether you’re looking for an experienced sound engineer, music composer, or post-production audio specialist, I’m here to bring your vision to life. With a strong foundation in audio production, a diverse portfolio of international projects, and a passion for storytelling through sound, I’m ready to collaborate and elevate your project with immersive, professional audio.But that’s not all—I’m also a graphic designer and video editor, passionate about crafting striking visuals and compelling edits that complement the story. From concept to final frame, I thrive on creating work that’s both impactful and unforgettable.Feel free to reach out for inquiries, collaborations, or just to explore how we can make your project sound—and look—exceptional.
Thank you
Your message has been received, and I appreciate you taking the time to connect. I’ll get back to you as soon as possible to discuss your project or answer any questions you have.If your inquiry is urgent, feel free to email me directly at [email protected].I look forward to collaborating with you and creating something incredible together!