A Journey's End
I composed and produced music for Waterloo's 2014 annual Film Festival at the Southbank Centre in London. With the short film following a young girl's journey to find a man (who we are led to believe is her father), I tried to depict her vulnerability, confusion and sense of longing as she wanders the streets of London by manipulating the audio and layering my instrumentation, especially at pivotal points within the film, to create climactic transitions between each scene.
Salaryman 6
Salaryman 6 (2002) is a short film by Jake Knight. Taken from a BBC link, the narrative is, "a modern tale of the day-to-day life of a salaryman, shot in Tokyo, it boasts exceptional footage of everyday vistas of this metropolis. His mundane and repetitive life is shown in detail as he attempts to piece together his life using the aid of a pocket camera, after losing his memory. A widescreen mini spectacular as reality is stretched and warped to dramatic effect."
My interpretation of the film contains an electroacoustic score and dense sound design/ foley, as I recreate the soundscape of Tokyo while suggesting the repetitiveness of Shiode's life through the music. The original film contains no musical score whatsoever.
SMART
As part of my portfolio submission as an undergraduate at Manchester Metropolitan University, I composed several pieces of music for a variety of small-scale projects such as this SMART car advert. I analysed the original ad, eventually deciding to develop a more beat-based composition that worked alongside the foley that I designed, creating a sense of space and perspective; an example of this being the gentleman at the vending machine whereby my track subsides to allow Stan Getz's Girl From Ipanema to be heard, as though being played through an in-situ radio.
Spotted Dogfish
During my time at Goldsmiths, I composed a number of short pieces for documentaries such as this one on aquatic life. The scene follows a female Spotted Dogfish and the birth of her young. To capture the innocence and playfulness of both mother and baby, I primarily used percussive instruments playing melodic, repetitive patterns, slowing to an angelic chorus accompanied by a tremolo on the guitar as the baby wriggles free from its egg.