O Clube (S6 + S7)

Portuguese TV series streaming on OPTO / SIC. Set in a Lisbon nightclub, the show follows the owner, a security guard, and the cast of recurring characters that orbit the eponymous venue. I owned the sound post-production for seasons 6 and 7 at AMMP — Audio & Music for Motion Picture — end-to-end editorial across all episodes of both seasons, plus the surround recording work that fed the show’s interior spaces.

S7 aired on OPTO from 25 April to 30 May 2025. S6 was finalised at AMMP in late 2024. S7 marked the end of my run at AMMP — the last season I delivered through that room.

Sound post-production across S6 + S7

The bulk of the work was editorial. Each episode came in with production sound, dialogue tracks, and ADR recorded by the production team; my job was to assemble everything into a coherent final mix that held up across OPTO’s broadcast and streaming pipeline.

The editorial chain ran roughly: dialogue cleanup and noise reduction, dialogue editing against production track, ADR matching and integration, sound design passes (interior club ambiences, foley, transitions), music pre-dub, and final premix for surround delivery. Across 16 episodes of S6 and S7, that meant a steady rhythm of deliveries — one episode landing roughly every week, with longer passes for the season openers and finales.

The challenge specific to a show like O Clube is that almost every scene takes place inside the same venue, so the room tone and atmosphere do most of the storytelling work. Small inconsistencies in ambience become very obvious when the cut goes back to the same club two minutes later in the next scene, and dialogue editorial has to respect that bed without flattening it.

Recording ambiences in Lisbon (7.1)

A meaningful slice of my time on the show went into location ambience recording around Lisbon for the show’s interior and exterior beds. The brief was a 7.1 surround setup, so I worked with a matched microphone array rather than the usual stereo pair — captured on an Ambeo (Sennheiser) ambisonic mic into a Sound Devices recorder, with the four-capsule ambisonic field decoded into the 7.1 bed downstream.

Recording days meant carrying the rig to bars, side streets, transit hubs, and the kinds of half-public, half-private spaces the show kept referencing, and spending long takes in each. The point was to capture the Lisbon that exists when the cameras are off: ventilation, distant traffic, glassware, low conversation, the small acoustic textures that make a room feel inhabited rather than set-dressed.

Those beds fed back into the editorial sessions at AMMP and gave the show its sonic continuity across episodes.