Sound for Fixed Media

 

Sound for Fixed Media

Some examples of sound I have done for Fixed Media, such as Film and Animation.

 
 
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Sheltered

(Director: Ross Kelly, 2018)

Returning from a summer abroad, a young suburban girl Sally goes to visit her friend Tyler. In the midst of gossip and games, Tyler reveals that they have a new housekeeper, Ava, only for Sally to discover a terrible secret about her. Now burdened with this discovery, Sally, thrust into adulthood, must choose to expose the truth or remain quiet. My Credits: Sound Design (post-production). NOTE: Currently in production.


cONFESSIONS OF A wASTED yOUTH

(Director: Karolina Żebrowska, 2017)

A short comedy set in the mid-nineteenth century, following the story of a young, clumsy housemaid who is desperate to become a painter’s model. Filming took place in Selkirk, in the Scottish Borders. The film is around 12 minutes in total. My Credits: Sound Recording (on-set), Sound Design (post-production).

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Nailbiter

(Animator: Laura Jayne Hodkin, 2017)

An animation with a distinctly unique art style. A girl travelling on the subway becomes increasingly stressed as she is harassed by the strangers around her. My Credits: Sound Design, Final Mix. It is around 4 minutes in total. For examples of Laura's other works and art, click the website link below.


Hurts so good

(Director: Annika Meos, 2016)

Pain is considered something to run away from, to escape. However, there are people who run straight towards pain – the ultramarathon runners. In this documentary we go on a journey with Fionna Ross as she competes in a 100 km race in Perth this March. Through the competition, this documentary explores how our minds are capable of pushing our bodies to unbelievable limits. My Credits: Sound Design (post-production).

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Tron Doras

(Director: Paul Crone, 2016) 

After he and his partner are in a car crash, Ruaraidh wakes up to find himself trapped in the bureaucratic nightmare that is Death - alone. Throughout his journey he meets those responsible for maintaining the bureaucracy, as he descends through the many levels of Death's domain. In the end he meets Death himself who is both amused and annoyed the stubbornness of Ruaraidh's pursuit. Dialogue in Scottish Gaelic. My Credits: Sound Design (post-production).