Backgrounds Editor
Foley Artist
Foley Recordist
The Girl and the Shadow
The Girl and the Shadow was thrilling to work on as I got to focus on building two different worlds. The perspective of the viewer is shaped by how the main character, the little girl, feels.
When she is scared of the monster coming to get her, her imagination runs wild and we hear animals from all over the world, elephants, hyenas, rhinoceros, and more. When she is hopeful we hear the happy sounds of the forest in the form of chirping birds, frog ribbit's, and the occasional buzz of a bee.
Team
Sound Designers: Daniel Christie & Tristan Asuncion
Sound Effects Editors: Tristan Asuncion, Guena Hughes, Sophie Montgomery , Ezra Satici
Backgrounds Editor
Team
Supervising Sound Editor: Matthew Kupferer
Director: Katlyn Ali
The Dolby Institute & Ghetto Film School Productions
As the Backgrounds Mixer for Pause/Play I really focused in on supporting the special visual effects. I developed what I thought each tendril of color represented, and based my design on the assumption that the portal is igniting the air with electricity to break into a different realm.
With this base line design knowledge I incorporated a lot of pulsating high frequency background layers, as well as more low-toned drones.
Pause/Play
Foley Artist
PRISM
Team
Sound Designer: Diane Yu
Assistant Sound Designer: Kendall Best
Foley Walker: Kendall Best
Prism, was a lot of fun to do foley for. I got to mush peeled grapes in my hands, throw around raw chicken, crawl around the floor, and very gingerly touch my own arm.
Any time I get to be challenged with specific sounds such as sticking a fork in a bowl of eyeballs I get excited.
Backgrounds Editor
Next Stop
As the backgrounds editor for Next Stop I did a lot of research on European trains going across the country. I also went knee deep into the world of very low end dynamic bass to simulate the slight vibrating feeling when on trains that go very fast.
Next stop was an exercise in how to achieve stillness through sound, the location remains on the train the majority of the time and both the Sound Designer and I wanted to sit in the tension and awkwardness of this story. In researching ways to make the various locations we see on the train all feel different, I became very familiar with a plethora of AC's, room tone's, and refrigerator hums.
Team
Sound Designer: Cheyenne Oxendine
Sound Effects Editor: Gavin Smith
Advisor: Wade Wilson
Backgrounds Editor
Foley Artist
Re-Recording Mixer
Perfect Fit
Perfect Fit was the first film I worked on and was a great introduction to film for me. I implemented many layers of party walla and smaller group walla to give a sense of foreground and background in the bar scenes.
The key lesson I learned was giving the sound mixer as many layers as possible so they have options when mixing.
The foley work for Perfect Fit tended to be centered around tender touches and caresses, this is most evident in the scenes in the wedding dressing room. I got a lot of practice in very subtle movement in foley work and gained more experience in cloth passes as the main character is taking on and off wedding dresses.
Team
Supervising Sound Editor: Lyric Abbott
Foley Editor: Lyric Abbott
Advisor: Wade Wilson
Co-Sound Designer
Cell Circuit
(Windows only not compatible with Mac)
At UNCSA I took a class called Sound Design for Computer Entertainment that entails working with NC State's Computer Science program and collaborating on creating video games.
For the game Cell Circuit I composed the music, created sound effects by recording foley, edited sound effects, and implemented changes as we got feedback from the game designers. I used Logic Pro to create the music and ProTools to record and edit the sound effects.
Delving into how the Motorcycle worked in game, what it would sound like inside one's organs, and developing the in game power up sounds were some of my favorite aspects of this project.
Team
Co-Sound Designer: Daniel Christie
Foley Recording Artist: Daniel Christie
Advisor: Wade Wilson
Game Creators and Programmers: Haley Barnette, Karthik Chandran, Mitchell Dunning, Duncan Glynn, Jackson Hall
Sound Designer
Morsel Munchers
Morsel Munchers is a Pin-Ball Format game that was created in two weeks. I composed the music, and created the sound effects using Logic Pro.
Morsel Munchers is addictively fun and endearingly strange and this is exactly what I wanted to illustrate in the composition. I used a slow almost cartoon, 8-bit sounding beat and layered in percussive elements to give it that energetic playfulness.
My vocals can be heard when you win the game in the form of the alien burping that I pitch shifted down and in every alien chomp as the alien snatches the food.
Team
Advisor: Wade Wilson
Game Creators and Programmers : Isaac Kellogg, Adam Imbert, Karthik Chandran
Play in browser!
Co-Sound Designer
Hold For Sound: Sonic Poetry
In a small team of five students we all worked together to create, record, and edit a Podcast in a class called Sound-Story Telling through Podcast.
For the episode Sonic Poetry, we each teamed up with one classmate and chose a poem to bring to life. Some of the roles I performed were recording artist, dialogue editor, and sound effects editor.
The intro is a tenor saxophone solo paired with the sounds of a storm. We asked the musician to begin slowly and take us on a journey into chaos in order to emphasize the incoming storm and to introduce not only the theme of jazz but the pain expressed in the poem.
Team
Co-Sound Designer : Camille Everett
Producer: Lindsay Putnam
Narrated by: Abigail Garcia
Tenor Sax Solo: Tyree Nesbitt