ABOUT ME

My Role: Audio Director What I Used: I created and implemented all the sound effects using Reaper and Wwise. I recorded and mixed all the music using Pro Tools.

Examples of work I did for the London level in MW3. I implemented several existing ambience sound effects and a handful of sound effects that I created for this level including the dog interaction, the CCTV camera system, reactionary emitters, and emitters in the park and underground section of the level.

Examples of work I did in the Tundra level in MW3. I implemented several existing ambience sound effects and a handful of sound effects that I created for this level including the howling wind at the cliff's edge, all the reactionary emitters, and some emitters.

A full sound redesign and mix of Blender Institute's Sintel. My Role: Foley Artist + Mixer, ADR Mixer, Dialogue Editor, Sound Designer, Backgrounds Mixer, and Re-Recording Mixer for this whole video. What I Used: The whole project was completed in Pro Tools. I pulled sound clips from different libraries to create the ambience and sound effects. All the Foley and ADR was recorded using an AKG C414, Scarlett Focusrite Interface, and Pro Tools. I edited all the dialogue with Izotope RX when needed.

My Role: Voice Director What I Used: I directed, produced, recorded, edited, and mixed all the dialogue for this game using Pro Tools, an AKG C414, and a small recording booth.

My Role: Sound Designer, Composer, Music Mixer, Audio Implementation, and Producer What I used: I created the music in Pro Tools using a MIDI controller and synthesizer plugins. In addition to composing virtual instruments, I mixed and mastered the music in Pro Tools using primarily Izotope plugins. For the sound effects, I pulled clips from sound libraries then layered and edited them using Pro Tools. As far as implementing goes, I didn't use any middleware. I implemented solely using Unity and basic scripting. Lastly, I used Trello for task management.

My Role: Sound Designer, Music Producer + Engineer, Audio Implementation, and Producer What I Used: I recorded, edited, and mixed original music using Pro Tools. The music consists of a pan drum, an acoustic guitar, and violin. I pulled sound files from libraries then edited and layered them in Pro Tools to create the sound effects. I implemented audio using FMOD and basic scripting in Unity. Lastly, I used Jira for task managing.

A full sound redesign and mix of Blender Institute's Glass Half. My Role: Sound Designer, Voice-Over Engineer + Editor, Foley Artist + Engineer, Background Mixer, and Re-Recording Mixer. What I Used: All the recording, editing, and mixing was done in Pro Tools. I pulled sound clips from different sound libraries for the sound effects. Foley and voice-overs were recorded using a shotgun microphone, an audient mixer, and Pro Tools. Lastly, all the dialogue was edited with Izotope RX when needed.

V/H/S/99 marks the return of the acclaimed found footage anthology franchise and the sequel to Shudder’s most-watched premiere of 2021. A thirsty teenager's home video leads to a series of horrifying revelations. Featuring five new stories from filmmakers Maggie Levin (Into The Dark: My Valentine), Johannes Roberts (47 Meters Down, Resident Evil: Welcome To Raccoon City), Flying Lotus (Kuso), Tyler MacIntyre (Tragedy Girls) and Joseph & Vanessa Winter (Deadstream), V/H/S/99 harkens back to the final punk rock analog days of VHS, while taking one giant leap forward into the hellish new millennium. Premieres October 20 on Shudder =================================== Subscribe: http://ow.ly/EVNA30kS8tc Try Shudder Free for 7 Days: http://www.shudder.com Follow Shudder on: Twitter: http://twitter.com/shudder Facebook: http://facebook.com/shudder Instagram: http://www.instagram.com/shudder TikTok: http://www.tiktok.com/@shudder ===================================