🎙️PORTFOLIO🎙️

T27T Ad

A fast-paced, energetic advert for a production company. With the camera constantly zooming in and out, I had to be precise with mic placement — booming carefully to stay out of frame while still keeping the dialogue clear, and making sure everyone was wired up correctly for consistent coverage.

T2Ardmore Safety Film

A safety film produced for a construction company, highlighting the risks of working on site. I worked as second sound, which meant being highly aware of my surroundings — staying safe myself while ensuring I didn’t put others at risk. Careful mic positioning was also key to keep exterior noise out of the recordings.

The Lonesome Cowboy

An 11-minute cut of this film was created for the BFI. I worked as assistant sound, handling location recording, mixing, and boom operating across a range of environments — from rooftops in central London, where avoiding city noise was essential, to a working farm, where protecting the gear (and keeping curious horses from chewing it) became part of the job.

The Projectionist

A short film about a jaded projectionist rediscovering his love for cinema through an audience’s joy. This project came with plenty of sound challenges — recording in a projection booth filled with constant fan noise meant ADR was essential, and early cinema scenes required careful boom work to capture natural sounds like popcorn rustling from across the room.

Pinky Promise

One of the first films I worked on as sound recordist/supervisor. Despite being given faulty equipment, I used a mix of recording techniques and restoration to capture clear dialogue throughout. The film covered a wide range of environments — from rainy exterior scenes and windy rooftop bridges to intimate interiors packed with cast, crew, and gear.

Day Two

A short film about a recovering addict, shot over 3–4 days. Some scenes were filmed guerrilla-style, which meant keeping my equipment discreet to avoid drawing attention from security. I also recorded in naturally reverberant spaces, working to capture clean, natural dialogue without heavy echo — giving the director full control to add reverb in post.

Day That Faithful Night

A short film about young love and hidden secrets, shot over four nights to capture its atmospheric tone. Recording at night came with its own challenges — from maintaining the mood on set to carefully managing environmental sounds such as traffic, insects, distant voices and  wildlife which can stand out more clearly, as there is less to blend in with.

Justice

A legal thriller following a man accused of beating his son. As production sound recordist, I focused on capturing clean, intelligible dialogue in a mix of courtroom and domestic settings. Day-to-day techniques included careful boom placement, discreet radio mic’ing, monitoring for clothing rustle, and maintaining consistent sound levels across takes — ensuring the editor had reliable, high-quality audio to work with throughout post.