Lone (2025)

My roles



1st Assistant Sound on set, including one day covering Production Sound Mixer role when Waqar was booked onto another shoot.

Supervising Sound Designer, which included:

• Foley Recording (clothing movements)
• Sound Effects Editing (using wild track recordings, original recordings made during post-production, and sound library audio)
• Re-recording Mixing (mixing my work with Waqar's dialogue edit & Bruno's score stems to deliver the final mix)

More detail

It was a fun challenge to balance all the elements in this sequence to build and maintain tension throughout. I particularly enjoyed the puzzle of fitting each element together as the beast tries to break down the door. It was satisfying to work with the performance shown onscreen to find just the right point and balance for each sound: the man's foot-scuffs and vocalisations, the snarls of the beast, the power felt behind each attack, and the phrasing of the score.

This illustrates the importance of being able to adjust each element of the soundtrack as the overall sound design develops. The result is that everything works together to tell the story of the film with as much impact as possible, rather than everything competing for the same space in the soundtrack.

This excerpt also demonstrates the benefits of thinking ahead to post-production during the shoot. During the day that I covered the role of Production Sound Mixer, I made sure to record wild tracks of Michael Timney's vocal noises from the takes of him struggling to keep the beast at bay. These isolated vocal noises proved invaluable for the sound design of that sequence, as I was able to control the presence of the man's vocalisations independently from the sounds of the door being shoved. These wild tracks also provided unexpected help elsewhere — at around 00:24 in the clip above, I used part of that wild track to add a shout as he falls over, to help heighten the sense of danger and helplessness he finds himself in.

Director & Writer: Emma-Jane Heaton

Score: Bruno Gillick

Dialogue Edit & Production Sound Mixer: Waqar Shah

Croak (2023)

CONTENT WARNING — this video excerpt depicts a fictional representation of two characters trying to end their lives by car asphyxiation.

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My roles

Supervising Sound Designer, which included:

• Sound Effects Editing (using wild track recordings, original recordings made during post-production, and sound library audio)
• Re-recording Mixing (working with the score, dialogue and Foley stems alongside my own work to create the final mix)

More detail

In this excerpt from Croak, I was responsible for the sound design and the final mix. I created the sound design of the car (including distinct layers for the engine created from holding objects against the spinning blades of a room fan), the background ambience, and the treatment of the child's voice that the scene pivots around.

I'm particularly proud of the close interaction achieved between Ben's score and the sound design throughout this excerpt, a result of our close collaboration throughout the post-production process.

Score: Ben Malley

Dialogue Edit: Stuart Ankers

Foley: Gabriel Hansen

Production Sound Mixer: Nathan Brennan