I am very interested in how sound design and music can be used in conjunction with the moving image to explore the boundaries between reality and fantasy. For my major project (2017-2018), I developed these interests practically and assigned different focus points to four film clips, intending to enhance these distinctions in order to create ambiguity.

My main goal was to reject the sensationalistic approach to film scoring and evoke the many different layers of subtext and perspectives for an audience to experience when watching these clips that move beyond foreground narrative.

Film Clip Focus Point
Alma - Short Animation Rhythm - Audio Visual Synchronisation
Breaking Bad - Season 2 - Jesse Pinkman Gets High Exploring how elements of diegetic sound can be used to create a surrealistic score
Sebastian's Voodoo - Short Animation External vs Internal Sound
The Bad Batch - "I'll Trade You For The Leg" Hyperreality - Highlighting moments of subtext to create unpredictability

Alma: Audio- Visual Synchronisation and the Prominence of Rhythm

The main focus point for this clip is to experiment with audio-visual synchronisation through manipulated sound materials. I aim to show two different worlds (Human vs Doll) by using out-of-sync sounds when she is outside, which become increasingly more in-sync when she is inside the shop. The passage shown above explores the inside world and how Alma is becoming more ‘doll-like’. After she has been transported into the doll, the ‘eye-blink’ sound effects become completely synchronous, showing us that Alma is now her true self.

Breaking Bad: Surrealistic Environments Created by Diegetic Sound

I wanted to sonically represent Jesse’s unconsciousness through meta-diegetic sound that then becomes internal diegetic sound during the ‘trip’ sequence. In order to achieve this effect practically, I incorporated elements of the diegetic world (shown in the first half of the clip) into the forthcoming hallucination. I electronically enhanced the diegetic sound in the first half and then proceeded to manipulate and enhance those materials to create an other-worldly sonic montage, expressing Jesse’s disorientation.

Sebastian’s Voodoo: External vs Internal Sound

Here, I have tried to contrast moments of external music with moments of internal sound in order to juxtapose two different sound worlds (external vs internal). To represent the external world, I used non-diegetic music such as the energetic drum patterns and bending strings (heard in the clip above which shows the beginning moments of the piece and essentially sets the scene and intensity of the horrific ‘external’ environment). To represent the internal world, I used manipulated sound materials including heart beats and heavy breathing effects.

The Bad Batch: Highlighting Subtext to Create Unpredictability

Throughout the scene, the environment resides in a hyper-realistic world that lies between reality and fantasy. The unpredictability in its musical hits (warped harmonica recordings) aim to shock, confuse and surprise the audience whilst also bringing out moments of subtext and thwarting the development of the foreground narrative. The dissonant sine tone at the end has a very long duration to create an uncomfortable hyper-realistic atmosphere through the unrealistic suspension of time.

Other Projects

Ocean’s Deep

I play Violin in this Pop-Folk track and I feature in the Lyric Video. It was written and filmed in 2016 by Singer-Songwriter Red Robb