TAURO (EN) | ABOUT
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20 Years

313 Feature films

78 Short films

52 Documentaries

WITH 20 YEARS WORTH OF EXPERIENCE IN ANIMATION, LIVE ACTION FILMS, TAURO IS ONE OF THE TOP FILM, TV AND VIDEO GAMES SOUND POST PRODUCTION STUDIOS IN IBEROAMERICA.

We provide every service from sound design to final theatrical mixes. Clients all over the world trust us with their most valued productions because we emphasize the creative process and work according to international protocols and standards. Workflow flexibility and market competitiveness are guaranteed.

If you are looking for a tailor-made sound experience, choose Tauro.

AWARDS


EL ANGEL

2019 Silver Condor (Argentine Film Critics Association)

Winner Best Sound: José Luis Díaz (Supervising Sound Editor) – Flavio Nogueira (Re-recording mixer)

2019 Premios Platino del Cine Iberoamericano (FIPCA / EGEDA)

Nominee Best Sound – José Luis Díaz (Sound designer) – Flavio Nogueira (Rerecording Mixer)

2018 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Nominee Best Sound – José Luis Díaz (Sound designer) – Flavio Nogueira (Rerecording Mixer)

2018 Fenix Ibero-American Film Award

Nominee Best Sound: José Luis Díaz (Supervising Sound Editor) – Flavio Nogueira (Re-recording mixer)


PETIT FRÈRE

SANFIC – 2018 Chilean Film Competition

Winner Best Sound: Flavio Nogueira (Supervising sound editor & Rerecording mixer)


LOS QUE AMAN ODIAN

2018 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound: José Luis Díaz (Supervising Sound Editor) – Flavio Nogueira (Re-recording mixer)


SANGRE EN LA BOCA

2016 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Nominee Best Sound – José Luis Díaz (Sound designer) – Lucas Meyer (Rerecording Mixer)


VOLEY

2015 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Nominee Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

Relatos

RELATOS SALVAJES

2015 Premios Platino del Cine Iberoamericano (FIPCA / EGEDA)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

2015 Silver Condor (Argentine Film Critics Association)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

2014 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

 

dolares-de-arena

DÓLARES DE ARENA

24° Cine Ceará – Festival Iberoamericano de Cinema 

Winner Best Sound – Alejandro de Icaza, Diego Gat

Metegol_x

METEGOL

2014 Silver Condor (Argentine Film Critics Association)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

2013 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)
Winner Best Music – Emilio Kauderer (Music composer) – Pablo Borghi (Orchestrator) – Diego Gat (Music Mixer)

Premios Platino del Cine Iberoamericano 2014 (FIPCA / EGEDA)

Winner Best Music –  Emilio Kauderer (Músico) – Pablo Borghi (Arreglador) – Diego Gat (Mezcla)

 

 

Serra Pelada

SERRA PELADA

Grande Prêmio do Cinema de 2014 (Academia Brasileira de Cinema)

Nominee Best Sound – João Godoy, Mártin Grignaschi, Diego Gat and Lucas Meyere

el-gato-desaparece_x

EL GATO DESAPARECE

2012 Silver Condor (Argentine Film Critics Association)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

2011 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

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LAS ACACIAS

2012 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound – Martín Litmanovich (Sound designer) – Diego Gat (Rerecording Mixer)

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REVOLUCIÓN

2012 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound – Martín Grignaschi (Sound designer) – Diego Gat (Rerecording Mixer)

2011 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Nominee Best Sound – Martín Grignaschi (Sound designer) – Diego Gat (Rerecording Mixer)

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IGUALITA A MI

2010 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

TE EXTRAÑO

2010 Ariel Award (Academy of Motion Picture Arts and Sciences of Mexico)

Nominee Best Sound – Lena Esquenazi (Sound designer) – Diego Gat (Rerecording Mixer)

la sangre brota

LA SANGRE BROTA

2010 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound – Leandro de Loredo  – Martín Montrasi (Rerecording Mixer)

2009 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Nominee Best Sound – Leandro de Loredo (Sound designer) – Martín Montrasi (Rerecording Mixer)

LLUVIA

LLUVIA

2009 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound – Martín Grignaschi – Diego Gat (Rerecording Mixer)

2008 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Nominee Best Sound – Martín Grignaschi (Sound designer) – Diego Gat (Rerecording Mixer)

la leon

LA LEÓN

2009 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound – Abel Tortorelli (Sound designer) – Diego Gat (Rerecording Mixer)

Argentina Beat 2

ARGENTINA BEAT

2008 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound – Diego Gat (Sound designer) -Martín Montrasi (Rerecording Mixer)

la antena

LA ANTENA

2008 Silver Condor (Argentine Film Critics Association)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

2007 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Winner Best Sound – José Luis Díaz (Sound designer) – Diego Gat (Rerecording Mixer)

Agua

AGUA

2007 Silver Condor (Argentine Film Critics Association)

Winner Best Sound – Martin Grignaschi y Federico Billordo (Sound designer) – Diego Gat (Rerecording Mixer)

2006 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Nominee Best Sound – Martin Grignaschi y Federico Billordo (Sound designer) – Diego Gat (Rerecording Mixer)

MONOBLOC

MONOBLOC

2007 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound – Martin Porta y Catriel Vildosola (Sound designer) – Diego Gat (Rerecording Mixer)

el camino de san diego

EL CAMINO DE SAN DIEGO

2006 Sur Award (Academy of Motion Picture Arts and Sciences of Argentina)

Nominee Best Sound – Carlos Abbate y José Luis Diaz (Sound designer) – Diego Gat (Rerecording Mixer)

EL PERRO

EL PERRO

2005 Silver Condor (Argentine Film Critics Association)

Nominee Best Sound – Carlos Abbate y José Luis Diaz (Sound designer) -Martín Montrasi (Rerecording Mixer)

RAUL BARBOZA

RAÚL BARBOZA, el sentimiento de abrazar

2004 Silver Condor (Argentine Film Critics Association)

Winner Best Sound – Daniel Márquez (Sound designer) -Martín Montrasi (Rerecording Mixer)

TESTIMONIALS

JUAN PABLO ZARAMELLA

Tauro is the sound studio I’ve been working with for more than 10 years, and where the sound design has the importance it deserves: the artistic, technical and professional level of the studio places it among the best studios of the world, adding special value to our productions.

DIRECTOR

CARLOS CARRERA

CCarrerasIn animation everything is generated (unlike live-action films) so, clearly, nothing sounds.

The sound -just like picture- of every element within the frame and the surrounding backgrounds need to be built carefully, detail by detail. The things that refer to reality have to be replicated and dramatically strengthened. However, what is the sound of an octopus-monkey, a flying pinata, a worm-like hand or a walking flexible ceramic toilet? You make it up.

I had the happy experience of going through that process alongside the team at Tauro, with José Luis and Diego in charge of the design of the film’s world of sounds. I hope this is the first of many opportunities to work together.

DIRECTOR

VICTOR HERNÁNDEZ STUMPFHAUSER

victor

In a film, marrying the art of sound design with music is no easy task… Especially if you want it done right!

That’s why, when I was told that my music for “Ana y Bruno” was going to be mixed at Tauro, I honestly felt a huge relief.

Diego has got the experience, the knowledge and the right team, as well as something essential: he handles sound with great taste and creativity and always knows how to make it service a story.

What can I say, it was my privilege to work with Tauro and I am looking forward to our next endeavour!

MUSIC COMPOSER

DAMIÁN SZIFRÓN

(About Wild Tales) I could see the movie working, I could hear the movie working, I could hear how it became full of life, organic, and how it creates a code with the audience… When you are facing the fear that your job might not work out, that is a safety balm.

DIRECTOR
MARCOS CARNEVALE

marcos carnevaleWonderful experience mixing Corazón de León in Tauro. It is the perfect place to feel the film like in the theater. Intimate, away from the city kaos and always with first class professionals. And smiling! Something strange in the world of sound!

DIRECTOR
EMILIO KAUDERER

emilio2

Mixing the music of Foosball in Tauro with Diego Gat was the crowning jewel for the soundtrack. We brought the recordings we made with the London Symphony Orchestra in Air Studios at London, in huge Protools sessions. Just like my music sounded in George Martin’s studio, it surprised all of us in Tauro’s 7.1.

Diego Gat’s skills in working the orchestra’s recordings are a unique contribution to the film’s music.

The management of hundreds of sound files, defined percussion, bright separation of winds, body preservation and sonic mass, and Diego’s ear to balance music with other sound effects (including a precious Calle 13 original recording), are what make of Tauro my favorite studio for the mix of my future projects. 

MUSIC COMPOSER
LENA ESQUENAZI

lena

Every time I come to Tauro Digital is like arriving to Argentina again. It was one of the first places I visited when I moved here, because I had to finish a mix that moved with me.

So, apart from the studio’s excellent quality and their gifted team, I keep that emotional relationship with the place that welcomed me once.

The quality of a rerecording stage can be checked when you hear it the same in a theater. And that has happened with the made at Tauro.

SOUND DESIGNER
NERIO BARBERIS

nerio

I was surprised by mixing at Tauro. The respect for the sound design we brought was excellent and not only that, every change suggested was wise. Diego Gat has an excellent feel for the mix and saved some scenes that were in danger. Great feel and judgement.

The result, excellent. And I ate great meat.

SOUND DESIGNER
SEBASTIÁN ESCOFET

EscofetWorking next to Diego Gat in every feature 5.1 mix is a pleasure and a guaranteed success. Professional like few others, very fast, precise and with both technical and theoretical knowledge. Tauro has a mixing stage that really sounds. The best local films go through the hands, and never-failing experience of Diego and his state-of-the-art gadgets.

MUSIC COMPOSER
JULIA SOLOMONOFF

Solomonoff

I keep beautiful memories from my days in Tauro mixing “El último verano de la Boyita”.

It was a hot summer and there we were, with Diego Gat and Lena Esquenazi, in a cool and dark studio, fully committed to listening with detail, with attention, with imagination…

My son Bruno was just two months old, I was breastfeeding and he spent the day with me, from his carrycot, watching the big screen, hearing dialog lines repeatedly, a background or a music cue before it was perfect for Lena and Diego’s high standards, until he was perfectly asleep. Lena said: “if one day you have to travel, you play him the film and that’s it. It will be as familiar to him as the voice of his mother”

In Tauro not only I found an excellent technical skill (Diego is obsessive and he is always very up-to-date) and huge creative freedom (he understands that a director needs to try things out, that he might not get to the mix with everything closed) but also excellent human qualities.

DIRECTOR
PAULA HERNÁNDEZ

paula_h

Two of my feature films, a short and a spot were mixed at Tauro with Diego Gat on command.

“Rain” was the first, in 2008, and it was so complex and subtle what we had been working with the sound designer, that getting to a mix that would meet such high expectations was a challenge. Personally, I was afraid that this wouldn’t happen, maybe because of old fears from previous works in other places.

The weeks there, the subtlety and precision of Diego’s work, and the constant feeling that we were working together, all with one same goal, were so strong that there was nothing to do but trust and trip together. The adventure lasted for that project, then others came. And surely, there will be others!

DIRECTOR
MARTÍN GRIGNASCHI

martin_g

When I mix at Tauro, I get that extra quality that I look for in my sound design.

SOUND DESIGNER