Selected portfolio of sound design & music, commercial and non commercial in 96 seconds.
Sound design, music & audio post. Initially the audio was purely sound design, however I felt additional music would lift the film. To discover the correct balance between both I stripped back the composed music to create space, introducing rests and pauses between the scenes. This helped the sound design become the focus when the film slows down time.
In addition to this I produced sound design for 5 minute version of the warrior sat on his horse in the Siberian plains. This is projected, played on loop in the exhibition space. A 5.1 cinema trailer mix was created using my work by a licensed Dolby facility.
2,500 years ago, fearsome warriors roamed the plains of Siberia. Feared, loathed, admired – but over time forgotten… Until now. This major exhibition explores the story of the Scythians – nomadic tribes and masters of mounted warfare, who flourished between 900 and 200 BC. Their encounters with the Greeks, Assyrians and Persians were written into history but for centuries all trace of their culture was lost – buried beneath the ice. Explore their lost world and discover the splendour, the sophistication and the sheer power of the mysterious Scythians.
Sound design, music & audio post for this 2017 showreel from London studio Fgreat. Showreels often only feature music, however bespoke sound design that complements the music makes the audio content stand out.
The music is a mix of contemporary brooding production, starting with ambient tension and building to a classical inspired crescendo. The classical elements and modern electronic fusion complement Fgreat's cutting edge visuals with their core arts and heritage themes.
Sound design & audio post for this Discover film for the UEA.
“Our research spans the global challenges we face today: from meeting the needs of an ageing population to understanding the unique and fragile environments we live in. We seek to address these challenges through our pioneering and boundary-breaking research, all to help build a better, healthier world.
This is our vision; the question is what’s yours?”
With a key theme of discovery, we see the protagonist exploring real and fantasy scenarios throughout the journey. The sound design deepens the realism experienced on screen; from whales in the sky to eye lash flutters that mimic bird wings, migrating and finding their path in life.
Sound design, music & audio post for three international online launch films for the ZOKU Runner – Reebok’s first knitted shoe. The sound design reflects the swarms of abstract logos, fabric and textural focus present in each film. Additional darker, more cinematic SFX elements were crafted to enhance the atmosphere in Teaser & Shoe Story.
Musically the brief was directed towards Trap / Hip Hop with the artist Future due to play at the Zoku launch party in London. The music took influence from Trap music and Future's productions, to help keep the brand launch sonically consistent.
Sound design & audio post for this promotional film. Lightz illuminates sponsor logos, race information & social interactions within all four wheel hubs of motorsports cars and taxis. Images are updated remotely in real time, to display changing graphics and information during a race.
The sound design reflects the gradual unveiling of the motorcar from the dark shadows of a warehouse. Using atmosphere and tension, the audio builds up to a roaring crescendo when the engine fires into full acceleration. With no music in the mix the sound design could take centre stage.
Sound design, audio post and mix. The sound design reflects the fun and playful visuals, bringing the narrative of Heineken's Innovation Challenge to life.
Sound design, music & audio post for this 360° film featuring spatial audio, best experienced using headphones. The audio transports the viewer into the paintings, becoming 360° places the viewer can explore. The spatial audio production allows sounds to emanate from objects, creating an immersive and realistic sonic environment when the user looks around. NOTE Safari now supports 360° video, but not spatial audio! Use another browser (Chrome) for viewing video.
Experience Surrealist paintings like never before in this 360° virtual reality film. Explore the illusory perceptions of a Spanish plain in Salvador Dalí’s 1930s masterpiece, Moment de transition. Discover the enigmatic dreamscape of Paul Delvaux’s Jeunes filles au bord de l’eau. Interpret the powerfully evocative part human, part machine-like creatures in André Masson’s Hôtel d’automates. And marvel at the juxtaposition of a powerful lion and a fragile egg in René Magritte’s Le Repas de Noces.
Project research, audio post, sound design and mix for the V&A museum’s new exhibition.
‘This major exhibition explores the era-defining significance and impact of the late 1960s, expressed through some of the greatest music and performances of the 20th century alongside fashion, film, design and political activism.’
The proposal brief featured different themes and music from the late 60’s throughout the animation. Using a list of selected artists and songs, I chose music that I felt best suited each theme. It was also important that the tracks mixed well into each other, which created a continuous flow of music.
The sound design brings a further enhancement of the experience; especially in themes like “drugs” where Cream’s Strangebrew is used as diegetic sound. Strangebrew is affected by the visuals on screen, such as traveling through a psychedelic tunnel of foliage and mushrooms. The Band’s ‘The Weight’ comes to a giant reverberant stop, emphasising the catapulting into space travel for the Technology theme.
For more information and tickets:
Manchester City Council
Sound design & mix for this animation inviting Manchester's community to have their say in the 2017 council budget.
The sound design complements the voice-over and music, bringing the actions and environments of the characters to life.
Sound Design for this visually stunning motion graphics experiment.
The sound design reflects the fractal and crystal like shape transformations, with evolving glass like and granular sounds. The atmosphere is dark and brooding from the tension created by the pulsing distorted bass line; this enhances the scale and movement of the object in space.
The sound design plays with fun bubble sounds, vape burning sfx, carbonated fizz and melting ice cream to wet the listener's appetite. The music has a psychedelic theme, throw-back elements of cheesy 70's porn funk; modern dub heavy rhythms driving the retro and film grain inspired visuals.
The second advert where the sound design and music are different but similar to the first advert, helps create a sonic branding and consistency for Vape Float.
Sound Design and Music for a short motion graphics project by Toby Auberg.
Described as 'Bufo doesn't know the world by an alkaloid and a half’, the project is a psychedelic exploration into the animated, colourful world of Toberg.
The sound design reflects elements associated with psychoactive auditory experiences, such as the hyper real, heightened sensitivity and morphing sounds. Sound generation processes included databending screen shots of the environment and using these pictures of the scene to feed an ANS - photoelectronic microtonal/spectral musical instrument.
The music guides the whimsical character into the unknown, before a sonic assault is unleashed in the ending crescendo.
Sound Design and Mix for a motion graphics film produced by FGreat Studio for ESPN/Disney. ESPN marked the launch of The Force Awakens asking which international team each Star Wars film would be. The video is an online edit of a longer version, which explores the impact of social media and digital services during the campaign.
The Star Wars ship sound effects are so legendary and well known that emulating them would not be good enough. Creative sampling was used to keep the original ship noises and bring them to life in this action packed video.
Sound design, music and mix for this DBLG studio project incorporating 3d animation, 3d printing and stop frame animation.
The sound design and music concept primarily uses granular synthesis, where by sound is generated from tiny snippets (grains) of sound. This was intended to reflect the 3D printing process used in the creation of the flag, which similarly is where objects are built and layered from small granules of plastic.
The visuals were originally 30 seconds long and three versions of music and sound design ideas were created. Once Grant the creative director had a listen, we collectively choose the ambient sound design concept. Once seeing the visuals with the chosen audio it was decided 30 seconds now seemed too short. The project was doubled in length to 1 minute with the influence of the audio.
London Science Museum
Sound Design & Mix for the London Science Museum's new internationally-acclaimed, must-see exhibition of 2016. Featuring various Foley recordings, layering and processing. My favourite recording was the mechanical sound of a Henry Hoover cable spindle turning around, as you wind the power cable back into the machine.
Music was provided by the client and this was edited and rearranged to reflect a stronger build up in the excitement of the musical arrangement. The musical ending was rebuilt so that it finished with a smooth crescendo, with the decay of the instruments naturally fading out.
Visit the Science museum's webpage for this event here.
Sound Design, Music and Mix for this collaborative project which took place over 6 months.
Seratox is a fictional underground laboratory project where creatures are breed and biologically modified in order to fight for commercial and capitalistic entertainment.
The audio was produced in three phases, firstly a custom sound library containing ambiences, textures, creature sounds and musical ideas was created. Toby provided feedback, developed the visuals further and the next phase of audio was produced based on the progression of Toby's additional visuals. After a second feedback session we moved onto the final phase.
This involved completing fine intricate details and the resulting final mix. This collaborative process of development between both of us meant the project was influenced by both visuals and audio; rather than the more traditional process of audio being created after visuals.
Rita approached me with this beautiful studio project from Trajectory Studio. The audio was completed in under a day and a half, due to a last minute deadline. I found the lack of time and the challenge to be quite refreshing, there wasn't a lot of scope for exploration and instead I had to follow my initial ideas and instincts.