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EXPRESS: TOUGH DENIM

  • Andy had a really cool vision from the start to make the score all percussion. So I began writing and recording a few bars of rhythms and sending them back to him.

  • Once we had a clear direction I mapped out the beat to the edit making sure that the music was perfectly locked to every cut and movement of the camera. 

  • The upbeat high impact energy was crucial in this project so I brought on an amazing drummer, Daniel Sousa, to kick it into high gear. 

  • To intensify the ending even more I layered in more percussion.

  • The final outcome is a blast of percussive energy that helps each shot burst into the next. Enjoy! 

 

Mazda: Moving Forward

  • Cale’s vision for this film was cinematic beauty and emotion. So, the music had to amplify and support that.

  • I collected musical references from the director, client, and producer and reviewed them in depth to create a musical destination. We settled on a cinematic neo-classical sound with influences from certain Japanese composers. My vision was to create a sense of value and class with the quality, intimacy, and emotion of the music.

  • I spent a lot of time writing and revising the main melodic theme based on the imagery, emotional content of the dialog, and the musical direction we came to from the references.

  • I used a small string ensemble for the bulk of the music combined some percussion and some synth textures. The real strings added depth to the score and took the whole project to the next level of cinematic beauty.

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EUREKA AIRSPEED - COLOR

  • The director, ry, still had one of the vacuums from the video shoot and thought it would be a cool idea to incorporate it in the score. So recorded it in a lot of different ways and used the sounds to make rhythms and sound design. 

  • I composed the music to strictly follow the movements of the dancer and the cuts of the camera.