Academy Award nominee for best sound for Elvis
About Us
HOME >> ABOUT US
About Big Bang Sound Design
At Big Bang Sound Design we are dedicated to the importance of storytelling through the use of sound. Our goal is to create soundtracks that allow the audience to see the film with their ears. We are committed to, and strive for, a unique collaborative approach to the filmmaking process, always having the story drive our sound. We also believe that sound design is an art form, and have gathered together a team of highly dedicated and experienced sound designers, editors and re-recording mixers, that we see as partners in the creative process. We are devoted to delivering a world class soundtrack - on time and on budget.
​
Our purpose built facility is located at Rosebery in Sydney. We are 8 minutes from Fox Studios and just 5 minutes from Sydney airport.
​
Our fully equipped studio boasts sixteen spacious and comfortable sound and picture editing suites, three 7.1/Dolby Atmos/AR and VR 360 mixing theatres and convenient on site sound design and ADR facilities. We also can provide spacious picture editing suites with storage solutions, and on site production office space.
Wayne Pashley
Wayne Pashley is a Sydney based Supervising Sound Editor, Sound
Designer, and Re-recording mixer, whose feature film credits include
Australian and international titles.
His 30 year working relationship with Baz Luhrmann has seen him work on
“Strictly Ballroom”, “Australia” and take home the Australian Academy of
Cinema and Television Arts award for Best Sound on “The Great Gatsby”.
​
A multi award winning Supervising Sound Editor/Re-recording Mixer, Wayne
has garnered awards that range from Best Artistic Contribution at the
Montreal World Film Festival to multiple Australian Screen Sound Guild, and
Motion Picture Sound Editors awards, as well as five AACTA awards for his
work including George Miller’s “Mad Max: Fury Road”, which also won the
2016 Oscar for Best Sound Editing and Best Sound Mixing.
His invaluable contribution to the overall movie going experience, and the
ever evolving expectation of an immersive sound and vision cinematic event
was recognised again recently when his work on Baz Luhrmann’s “Elvis” was
nominated for both a BAFTA and an Academy Award for Best Sound in 2023.
Libby Villa
Libby Villa is a Sydney-based Supervising Sound Editor and Post-Production Sound Co-ordinator with decades of experience in the Australian and international film industries. As co-owner of the boutique audio post-production studio Big Bang Sound Design, which she runs alongside her partner Wayne Pashley, Libby has played a key role in shaping the sound of some of the most iconic and technically complex films in recent years.
​
Her credits span major studio productions and auteur-driven features alike, including Warner Bros’ The Lego Movie, Alex Proyas’ Gods of Egypt, George Miller’s Academy Award-winning Mad Max: Fury Road, and Baz Luhrmann’s Elvis. Known for her meticulous approach to both creative sound supervision and post-production logistics, Libby ensures that every project is delivered with artistic precision and efficiency.
​
A recipient of multiple industry awards for excellence in sound, Libby continues to be a sought-after figure in post-production. She is currently finished her role as Supervising Sound Editor on Ron Howard’s upcoming feature Eden, bringing her wealth of experience and leadership to yet another ambitious international production.
In 1993, on the burgeoning wave of new technology that was just beginning in the film sound industry, Wayne and Libby joined forces, opening the doors of their sound studio, Big Bang Sound Design. Operating initially out of Spectrum Films at Willoughby, they struck out independently in 1999 when they moved to their own premises at Kensington. During this time they continued to work on countless films for both the local Australian film industry and for overseas studios, including Bruce Beresford's “Paradise Road”, Gillian Armstrong's “Oscar & Lucinda” and “Charlotte Gray”, Steve Irwin’s “Crocodile Hunter – Collision Course”, and Baz Luhrmann’s “Australia”.
In 1997 Wayne received local and international recognition for his work on Bill Bennett’s “Kiss or Kill” when he won an Australian Film Institute award for Best Achievement in Sound, and Best Artistic Contribution from the Montreal World Film Festival. A second Australian Film Institute award for Best Achievement in Sound came in 1999 for “In a Savage Land”. He has also received recognition from the British Academy and American Motion Picture Sound Editors Guild for his work on Baz Luhrmann's “Strictly Ballroom”, Chris Noonan's “Babe”, George Miller’s “Babe - Pig In The City” and the Oscar winning motion picture animation "Happy Feet".
​
By 2009, Wayne and Libby, embarked on the ambitious project of building a sound editing facility from scratch. This would mean they could create a purpose built premises for sound editors to come and work together, at a time when many productions were encouraging people to operate from home. They purchased the property in Rosebery and set about fitting it out, using their years of experience as sound editors to build just the sort of environment they would be happy to work in. It is this idea of a team working together in a creative atmosphere that really complements and enhances any soundtrack by Big Bang Sound Design.
​
Among many other awards his proudest moments came, when he was the supervising sound editor on the Oscar winning soundtrack of “Mad Max: Fury Road” and Oscar nominated soundtrack for Baz Luhrmann "Elvis".
Wayne recently completed work as the supervising sound editor, sound designer and re-recording mixer on 'John Farnham: Finding The Voice', 'Midnight Oil: The Hardest Line' and Ron Howard's upcoming feature film “Eden”.
​
With multiple projects on the horizon, Wayne and Libby are currently working on a mix of local and international stories, and are excited about what’s ahead.
After reviewing hundreds of lossless audio tracks over the years, I'm not as easily impressed as I once was, but the Ga'Hoole mix entranced and enthralled me again and again.