My Work
Pan's Labyrinth
Original Soundtrack | 5.54m | 2024
This score is inspired by the discovery scene, where Ofelia finds the door. I thought the original soundtrack failed to replicate the magical moment of discovery and the drastic shift in mood between the outside and the Pale Man's lair. ​
The magic of the discovery scene is highlighted by the harp and celeste, with the rest of the orchestra playing lush harmonies in the background.
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Instrumentation and tempo shifts also play a key role in portraying the scene's mood shift. Dark drones and dissonant strings allow for better audience connection, as there is a stronger visual-to-sound association.
"Thief"
Animated Short-Film | 1:24 | 2024
"Thief" was one of the first animated short films I scored. The score focuses on foley, which was recorded in a studio by me.
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The hybrid score, uses various orchestral instruments layered with synths and pads, designed using plugins like Vital and Kontakt.
Nostalgia
Orchestral Score | 1.5m | 2025
Ironically enough, and trust me when I say I never thought I'd say this, but the inspiration for this piece came after a terrible breakup.
To me, Nostlagia represents conflict, confusion and mixed emotions. You can almost hear the orchestra arguing and making up. This was achieved through call and response, unresolved harmony and prolonged cadences.
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I composed the piece in MuseScore and mixed the audio for each instrument individually (and in mix busses/summing stacks) in Logic.
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The main audio processing used was: binaural audio, EQ, reverb, distortion and compression.
Featured Instruments
Strings, woodwinds, horns, harp
"Trois Petits Points"
Animated Short-Film | 2:31 | 2024
This was the very first short film I scored for. Personally, scoring for this film was about finding my own sound.
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The score uses a mix of BBC Symphony orchestra instruments with a mix of various LABS plugins.
Last Day of War
Short-Film Soundtrack | 6:05m | 2024
Originally the score was composed for a sci-fi post-apocalyptic short film. It is divided into three parts- the big apocalypse, the silence right after, and the aftermath.
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The orchestra is heavily processed to sound like a distant memory. Almost as if you're unsure if the war even happened, questioning your memories and representing a sense of displacement.
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Drone and ambient sounds were recorded using direct line-level instrument signals from the Roland RD-08. Layering that with Spitfire, LABS and Kontak7 sample libraries allowed me to create a deep sonic soundscape.
