Nosferatu
My BECA capstone project: a complete sonic reimagining of Robert Eggers’ Nosferatu. I directed the ADR sessions, guiding performers to capture the haunting vocal textures. I performed foley, experimenting with unconventional materials to achieve the film’s distinctive weight and atmosphere.
Outside Salem
This project marked my first client commission beyond the classroom, working with Full of Fruit Productions. This was also my first time working on a trailer, which allowed me to tap into a different set of skills required to bring a captivating sound design to a trailer. I focused on a mix that not only enhanced the dialogue and score but also heightened the emotional tension of the trailer.
Frozen
This sound redesign highlights my love for building complex bases from lots of simple sounds. I layered crystalline textures—real ice recordings, glass resonances, and synthesized harmonics—to create effects that feel both tactile and otherworldly, capturing Elsa’s dual nature as both human and elemental force.
Spiderman
Working alongside two other audio engineers, we stressed the importance of futuristic and sci-fi sounds as the base for the villain and everything he interacts with in the scene. We carefully constructed the synth that follows the villain’s appearance to build tension and highlight his power.
Moon Man
This distinct slimy creature was the highlight of this project. Working with two collaborators, I developed the beast’s visceral vocal texture by recording pumpkin fibers crushed by hand, layering with water splashes for added depth. Considering the creature’s large stature, we wanted each step to be heavy, as if he were shaking the moon’s surface.
Electricity
My first sound design: a brief exploration of a hyper technical atmosphere. I built the environment from recorded computer fans, then introduced synthesized tones that exist just beyond reality. I always strive to blend love the common and otherwise mundane with the fantastical.