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Hirtenstraße 19, 10178 Berlin, Germany
(+44) 871.075.0336


Initially, we started a foley department to have foley for our projects, but we loved it so much that we decided to do the full service out of it. Every project that we take on is a new journey and a new challenge. We make every sound intending to tell a story.


Several years ago, we decided to partner up with Georgian Film to renovate Georgia’s biggest foley stage, built in the 1960s by the top Soviet and German engineers to be used for foley at that time. The stage size is 120m² (1291.67f²) with a 7m (23f) ceiling and has a fully isolated control room. Postred with Georgian Film decided to give this stage new life to meet all modern standards by incorporating it with state of the art industry-standard equipment.
The room’s size allowed us to install longer foley pits and record “Acoustic” foley, meaning that we can record foley with space and do acoustically natural approaches or pass by-s. Despite the room’s size, it has small to regular room acoustic characteristics.


In partnership with the country’s top prop houses, “GEORGIAN FILM” & “Art Things,” we have access to the biggest collection of props that foley stage can have. Georgian Film has been collecting props since the 1920’s giving us access to almost any epochal prop available and a big range of guns and other military equipment.




Biko Gogaladze would have never imagined that his dancing skills would lead him to be a foley artist. He had never even heard of this profession. But everything changed when he found out Postred was looking for someone who would have the feel of rhythm, imitate the movements of characters from the movie, and be passionate about this job. Biko decided to try and instantly fell in love with foley. He’s been doing it for a while now, and he cannot stop! Sometimes the team calls him Mowgli, as Biko is so energetic that he never gets tired; he always puts 150% and is determined to learn and develop daily. He has already worked on more than 70 movies. His dancing skills came in very handy in one of the most critically acclaimed films: “And Then We Danced…” where he literally danced while recording the main character’s dancing routines.
IMDB Credits




Giorgi Lekishvili, whom we call Leki, has been fresh out of University when we took him in. His immense love of films and sound gave us big hope that he would be a perfect member of the Postred team. He showed his tremendous interest in foley and joined the department as a mixer. Leki’s immense love of cinema, his original vision, and sharp ear help him make creative decisions during foley mixing. He and Biko have been incredible partners since 2018. They work perfectly in sync and are always determined to work on more projects together.
IMDB Credits


Grant Elder

“When I first got the opportunity to work with the crew at Postred, it wasn’t just the quality of their work that won me over; it was the entire team’s collaborative spirit, organization, responsiveness, and commitment to being an integral part of the team. Postred’s dedication to the art of storytelling is apparent in every collaboration. The Foley team’s creative process and attention to detail make them an outlier within the post-production industry. I admire how they push their craft boundaries and remain highly focused on creating unique sonic textures that sit seamlessly into any mix.”
Grant Elder
Supervising Sound Editor/Re-recording Mixer | Golden Reel Nominee

Peter Staubli

“I had the pleasure to work with Beso Kacharava and his team at Postred on “The Novice,” a film about an obsessive competitive rower. The foley I was looking for in these ultra-light, carbon fiber, and aluminum rowing boats and training machines needed to be slick, hi-tech, but still have character. Postred delivered! Everything was outstanding, creative, and perfectly fit with the little production we had. All the water movement, including the oars “in and out of water sounds,” had to have the right tone and flavor. Again, they fit in wonderfully with the SFX and design. It was not an easy task since our director was a competitive rower and was very particular about the way one feels when in action. Plus, all the rest of the props and feet had character and weight.
From a scheduling point of view, the whole team jumped into action on extremely short notice and delivered fast. The turnaround was so swift it made working with Postred a non-brainer. Thanks, Postred!”
Peter Staubli
Supervising Sound Editor/Re-Recording Mixer | 5-Time Golden Reel Winner

Zach Seivers

“More I mix your work, the happier I get. You guys did a really stellar job. I’m serious when I say that I am really looking forward to working with you guys again on the next one.
The quality of your work is really cinematic and so easy to mix. It’s just dialed in so perfectly that it’s the first time I don’t feel I need to constantly fix things or duck out of the foley to hide it. I’m so excited to bring you in on a project earlier so that we can record material and use it as part of the design and temp mixing way earlier in the process.”
Zach Seivers
Supervising Sound Editor/Re-Recording Mixer | Primetime Emmy Winner and 2-Time Golden Reel Winner

Tom Boykin

“With a minimum direction and only a QuickTime (with a horrible guide track to boot), the Foley team at Postred were able to quickly cue, record, and deliver edited Foley for the film. After unzipping the Pro Tools session and importing it into my master sound edit, I hit play. It is one of the only times I have “just hit play” on a Foley session and not immediately reached for the VCA’s to turn all the props and feet down. Each sound was exceptionally well-recorded, with great care taken to prop and shoe choice and character’s performance. The sync was spot-on. I did have a handful of notes for the Foley team, which were swiftly executed. But the sheer quality of the sounds they recorded shows how the right room, props, and people can transform Foley into something with depth and meaning. It is refreshing to have Foley that can play a larger role in telling the director’s story versus “just for the M&E.” The excellent communication, dedication to sound quality, and expediency of delivery easily place Postred at the top of my call list for Foley recording.
It is always a risk when working with new people, especially if they’re not recommended by a colleague. I had an indie feature film that needed full-coverage Foley for international distribution, but my usual collaborators were unavailable. Looking for help, I posted on Facebook and was recommended to give Postred a shot. After reading a bit about their process and wonderfully-built stage in Georgia, I decided to take the risk – mostly due to the excellent communication by Tina, Head of Business Development at Postred.”
Tom Boykin
Supervising Sound Editor/Re-recording Mixer | 5-Time Golden Reel Nominee

Jaim Sahuleka

“I have had the pleasure of working with Postred’s Foley during the summer of 2020 on a feature film shot in an amusement park that was open to the public during production. Many of the production sound couldn’t be used because of the background music in the park. Beso and his team did an excellent job of doing full coverage for the full feature. It was noticeable that you guys know what the re-recording mixer needs. Every detail was there, in perfect sync, separation of foreground and background and following changing perspectives, everything in a well-organized Pro Tools session, perfect! Excellent choice of props and surfaces made it easy to blend Foley with production sound. I could have just had the Foley fader open unity gain, but it was even more fun to play around with it. Your Foley artists rock! I spotted a lot of totally sync one-takers. Communication was delightful, and the delivery was super-fast! I am very much looking forward to the next opportunity to work together.”
Jaim Sahuleka
Sound Designer/Re-recording Mixer