Roudie Rigaud Marcelin

I entered the Artist Institute School in 2011 with the aim of doing studies that would lead me to work in the cinema as an image editor. I then had a great passion which was to manipulate and animate images. My fantasy at the time was to fill in the gaps that were missing in television programs in Haiti (it didn't work) since there were already technicians-editors in the TV stations. But hey, I didn't despair and after all, becoming a sound engineer on sets or in studios wasn't so bad. The only school at the time dealing with sound was the National School of Cinema and Photography, which was called Artist Institute (in reference to its address, Mazarin, Jacmel) and which has now become the National School of the Republic in the matter. And it was there, well before the end of my second year in cinema, that I had a "revelation" on a few shoots where I was a sound trainee (my first shooting experiences, it seems to me): I saw for the first time directors of photography at work. I was totally fascinated, I did not understand how they could make decisions such as placing projectors in such a place, putting shutters or colored gelatins, deciding the position of the camera. I said to myself "but how does he do it? ". After graduating in cinematography and post-production, I had the opportunity to follow the studies course again at school, but this time in the pure audio section. And I was able to begin to understand this great mystery...

After graduating in the sound section, I had to work and the principle of precedence made it easier to make sound than image. So I started a career as a sound engineer in the cinema, which didn't go too badly by the way. Between 2015 and 2022, a good number of feature films, short films, in particular KAFOU by Bruno Mourral, FREDA by Gessica Généus, KIDNAPPING INC. by Bruno Mourral ; NAOMIE OSAKA by Garett Bradeley ; CADEUS by Marc Havener , In 2021, I obtained with my sound operator Thomas son Thomas Van Pottelberge , the prize for the best sound for the film FREDA and we were nominated, in the FESPACO festival (Pan-African Film & TV Festival of Ouagadougou) in Africa.

All this allowed me to observe the work of a large number of chief sound operators, and not the least, and gradually to understand "how do they do their magic ? ".

And so from 2016 to 2017, I jumped into the deep end and started my first shoots as sound director for documentaries, short films, feature films and for e de court - footage... On the other hand, mixing was always part of my concerns. And I had in 2018, associated with my boom operator, the opportunity to remix the sound of the film MACHANN FIG LA. It was my first experiences in audio post-production. You could say to yourself "good for everything, good for nothing", so I mainly devote myself to sound recording for documentaries, but I concentrate much more on fiction films, and also commissioned films, especially for the "Spanish Oxfam", recordings of shows for the cultural society "FOKAL" with GOUYAD SENPYÈ, a play produced by Anyes Noël ... And from 2020 to 2022, I supervised the teaching of sound recording techniques on request but also at Artist Institute (Higher School of Film and Sound Studies), in Jacmel.