Film work isn't just fun and rewarding by the sheer impossibility of seeing your work on the screen, but it is also a difficult skill to learn. The complexity and varieties of sounds and layers of sound make this trade exhilarating, exhausting, and awesome.
A certificate in audio engineering doesn't get anyone a job, but at least it gave Jimmy an opportunity to work with a good friend on a goofy, strange and funny web series in New York. This work opened up the wonderful world of Foley and sound design in ways that couldn't be imagined.
Chicago brought this interest to a head with some opportunities to do location sound, and develop another new set of skills. Recording in deep freeze, rain, snow, the great outdoors was not easy to capture.
After doing location audio for Sugar (pilot episode) and Pilgrim (short film), the opportunity to get back into post- audio just made his day. And the results just enforced the whole reason to get involved in the first place.
More Foley fun and sonic experimentation churned out more desire to play in the studio. ZIV, the cutest zombie flick ever made, brought out even more ear-play than any project before.
If ever there was any reason to want to hit the studio and have some fun, audio for film is it. Music is everything, but film is creating a universe.