Sound Design & Foley

Dragon Age (Cinematic)

Foley, SFX & soundscape for a cinematic video game scene

I created atmosphere and effects using Foley and creative recordings: crumpled plastic bags for the bonfire sparks, water drops, footsteps on wood and gravel, door impacts, and knives sliding against each other for swords.

I composed a short C minor soundtrack with harps, choirs, and strings. For the magical fireball, I manipulated crumpled plastic bags to simulate fire, quickly stretching and releasing them to capture the 'boom' produced by the sound tail as they stretched.

The Fear

Foley for animations

For this project, I focused on extensive Foley and sound design to enhance tension in an animated thriller. I recorded footsteps, doors, and percussive objects across multiple surfaces.

I manipulated, percussion and vocal recordings for variation and childlike tones. Atmospheric effects were built with long attacks, modulation, detuning, and dissonant intervals to maintain suspense.

I also added abrupt percussive hits and out-of-scene sounds to emphasise key moments and heighten the viewer's sense of nervousness.

The Mandalorian Scene

Foley, SFX & atmosphere background

I rebuilt the scene’s audio with layered Foley, textures, and percussion. For the war ambience, I added drum rolls, a sustaining pedal note, and distorted screams recorded at home. Footsteps were captured on multiple surfaces in a Foley studio.

To simulate a space-ship crossing, I recorded a passing car to create a Doppler effect. Hammer sounds were recorded and processed like the previous swords, and laser shots were created using a metal slinky, inspired by Ben Burtt’s Star Wars method. Percussion for the press was produced with Logic Pro instruments.

The Explorer

In this video, I demonstrate my technical and creative approach to sound design for a video game's user interface.

In this video, I demonstrate my technical and creative approach to sound design for a video game's user interface.

I worked from my own vocal recordings, which I then processed with various techniques: reverb, delay, distortion, modulation, time stretching, reverse playback, and additional layers using wavetable synthesis, adding greater timbral richness and personality to the result.

These treatments enabled me to transform simple sounds into unique and functional elements that enhanced the player's experience.