Doing a series of videos for the Noodle Boys for CBC Comedy was a great experience. Talented funny gang with great material to work with. Not to mention a lot of room to play with comedic timing.

Working on Crescendo was a blast because you can have so much fun with the Sound Design of psychological thrillers. A story of a lead violinist being persued by a figure of trauma and fear that only she experiences, led to making some challenging creative decisions to best increase tension.

This webseries is so weird! But in the best possible way. Take a dystopian daytime talk-show, but everything slowly deteriorates at the seams over 12 episodes. It was always a dream of mine to work on something that aligned with some Adult Swim / Tim and Eric, Awesome Show Great Job style material. The episodes are uncomfortable, funny, and hard to predict what will happen next. This project challenged my ability to think outside the box, and experiment with repurposing sound effects and foley.

Peaches is a quiet, sweet little romance that was very fun to work on. The location where the short was filmed had a very loud and overbearing fridge hum that couldn’t be turned off while recording. So the biggest challenge was to noise reduce and EQ it out. The end product was a success!

Working on a horror has always been a dream for me. The ability to truly influence the audience sonically in a way that makes them as uncomfortable as possible. It was a lot of fun playing with psychologically jarring situations as a woman wrestles with her demons, and eventually her sanity. 

Cold Season was the first feature film I worked on. It was an amazing challenge to work with talented musicians and film makers on this sweet narrative about two musically inspired individuals. I was able turn this around in two months and the finished product is something I'm very proud of to this day.

Unannounced was a great project to work on. There were a lot of simple elements to the sound design being set in the countryside, but it was enjoyable to make a rich natural atmosphere. With a film that centred around strong emotion, there was a lot to play with in the mix.

Being Sound Designer on a dystopian drama meant thinking very conceptually on how this muted world would sound. Ninety percent of the film's on set sound was useless, so complete reconstruction of sound was the only option. Using ADR, foley, and sound effects, what was achieved was a dark, textured, and well crafted soundscape, fitting for a well crafted short film. I also composed an original score for the film.

Baker St. took me almost half a year to make. I helmed both all aspects of the post production sound process, as well as composed the music. Each episode was between 15 minutes to a full 30 minute season finale. Despite being juggled with another project it was still completed in a timely fashion, and garnered an online cult following. A season 2 is in the works.