CEO of global marketing holding company Omnicom, John Wren, commissioned a vibrant Christmas film to share with their staff and wish them a peaceful holiday season. The film follows the journey of Omnicom Express - a steam train - as it travels worldwide to visit the Omnicom offices' cities. It begins in Brooklyn and continues to Brazil, Sydney, Paris, Toronto, and London, concluding with a heartwarming message from John Wren himself.

The Music
I as tasked with composing a vibrant music score that captured the holiday spirit while respecting the religious diversity of the Omnicom global community. The score leans on the orchestra, with soaring melodies, haunting choirs and various musical colours that change as the train passes through different countries.

Small cultural nods were composed; for example, the accordion appears as we traverse through Paris, while traditional wind instruments peak out over London, where they were a staple in the Renaissance era.

to celebrate the success of millions of its users in 2024. Produced in-house, the film captures the joy and energy of achievement in many forms, wrapped neatly in a fast-paced, stylised edit full of clever 2D animation and user-generated content.

The Sound
I was approached to carve out the sound of optimism with a rhythmic electronic score and vibrant sound design. Inspired by ticking clocks, the driving music was set to time, layered with gritty synths, and interwoven with fast-paced sound design. The aim was to showcase, with enthusiasm, all of the incredible milestones Strava users achieved throughout the year through sound and music.

The Gaelic Athletic Association (GAA), Ireland's largest sporting association, teamed up with BBDO Dublin to kick off the new season of Gaelic Football and Hurling with a film capturing the unforgettable experience of a GAA match. The film, directed by Lochlainn McKenna for Assembly, centres around the childhood memory of a woman attending a game. It is artfully non-specific about the match itself, instead opting to focus on the surrounding memories that create nostalgia—the feeling rather than the time or place.

The Music & Sound
My role was to create a soundscape with a rich yet slightly 'blurred' feeling. Memories are often somewhat faded, so I focused more broadly on the memory as a whole instead of taking each shot in fine detail. Sounds bleed in from off-screen in unexpected ways - all to pull the listener into the warm, balmy feeling of the moment.

The score is a mix of textural notes, strings, and piano, reversed and manipulated to play with the sense of time in the film. A core five-note theme winds its way through the score, repeating on cello for a warm, emotive lift. Fun fact: The melody, performed on a treated piano, eases in with a slow 'attack' on each note, accomplished by reversing the notes in post-production - a nice nod to looking fondly back in time.

Nike's World of Warmth campaign, directed by Henry Schofield and produced by HAMLET, is a vivid and wild ride through Nike's fictional jacket testing facility. This cinematic narrative set in an icy world showcases the Nike Winter Collection. the film was a collaboration between Nike China and Wieden+Kennedy Shanghai, aiming to marry captivating visuals with a quirky audio experience.

The Sound

I was asked to craft a rich rhythmic landscape using sound design that worked tightly with the film's visuals and the pace of the edit. I created detailed sounds to illustrate particular elements, such as close-up shots of the jacket's zippers, the unfreezing of bio-lab plants, and unhinged automated snowball machines. The film is a cacophony of fictional and real sounds, so creating a convincing world that was alien but familiar was key.

Under Armour's cinematic, spine-tingling film, directed by Iconoclast's Jonas Lindstroem, follows a downtrodden football team facing a loss at half-time during an important final. Packed with an electric tension, the film documents the trials and tribulations of training in competitive sports and the mental hardships that need to be overcome in order to win. Created by 72andSunny Amsterdam, the film coalesces around Under Armour's age-old mantra - 'Protect This House'.

The Music + Sound
The film is built around this chant, and so I was tasked with embedding it into the music and a soundscape of electrifying moments - from screaming heads in ice baths to tense training regimes, the film is a whirlwind of intense moments of physical and mental testing. The film is both intimate and grand - I had to capture that raw, visceral sense of determination. The impact of lockers in the opening scenes was a key signifying element in building the energy of the film from the humble locker room to a powerful, spinetingling climax.

Oregon Ducks have relased Innovation U - a high-impact, energetic tribute to the rich history and remarkable evolution of the American Football team, as documented vividly in their 400-page Innovation University Book.

Directed by acclaimed filmmaker Warner Shaw and narrated by legendary Sportscaster anchor Neil Everett, Innovation U serves as a tribute to the relentless pursuit of excellence that defines the Oregon Football program.

The Music + Sound
I worked with Warner to craft an engaging music soundtrack; blending contemporary, percussion-driven trap music with detailed sound design, capturing the epic journey of Oregon Football through its modernisation and evolution.

Brabus has launched the groundbreaking Crawler - a limited edition, luxury 'off-roader' designed exclusively for desert racing. Built to dominate the dunes, the Crawler boasts a 900hp engine - and you can't drive it on conventional roads. Directed by the inimitable Tom Thessman, the film itself is a cinematic ode to freedom unleashed.

The Sound
I was tasked with showcasing the sound of the Crawler, capturing its singular, almost animalistic engine. I spent a lot of time detailing the car itself, right down to the suspension response against the desert, and the sense of exhilaration felt while blasting across the wild desert expanse.

The Music
I composed a gritty, dreamlike soundscape, blending human voices and deep, brooding analog synths. I wanted to capture the feeling of being intoxicated with pure freedom, culminating in a powerful, adrenaline-filled climax.

The Denver-based supersonic jet manufacturer recently teamed up with Ntropic London to produce an exciting reveal film for Overture, its flagship jet. The film offers a glimpse into the past and future of aviation, and a sonic experience that matches the jet's sleek design and futuristic capabilities.

The Sound
I was tasked with creating a thrilling audio experience, to try and pull the viewer through a majestic, fast-paced journey covering aviation design right through to breaking the sound barrier,

Orlebar Brown, the luxury swimwear brand, has released a nostalgic short film that celebrates their tailored men's swimwear collection, 'Bulldog'. Directed by Cian McKenna and produced by Not Just Any, the film takes viewers on a beautiful journey through dreamlike scenes, capturing the peace and tranquillity of holidays.

The Sound

I sound-designed textures using nostalgic analogue photography foley, then blurring it with sounds of laughter, relaxation and details of beautiful holiday scenes. You can hear the subtle sound of a dock, the soft stitching of fabric and the natural sound of the ocean.

I composed a piano-centric composition, 'treating' its sound during the opening flurry of images like an old-time recording. Later, the piece evolves, blending warm strings with the sounds of the ocean.

After a decade hiatus, EA Games finally dropped the trailer for its iconic franchise; Skate. This was no ordinary game trailer - Skate is always about the fans, and so, instead of a highly-polished and cinematic promo, they released a pre-pre-pre-pre Alpha teaser to involve fans in the process and give them a glimpse of what's to come.

The Sound

My brief was to seamlessly blend the old and the new, working with the original game sounds from the '07, '08, and '09 releases to showcase the advancements that awaited in the next instalment. This film was unique in that it was for a video game, so it required a very different set of rules for sound design accurately. The team at EA were adamant that the sounds were faithful to the quality of the new in-game audio they have crafted for the game.

The Process

The beginning of the trailer is far barer, using only the old sounds, but as we move toward the latter half, we can hear the fidelity of the sounds improve, along with the realism and accuracy. Every minute detail, from the grinds of axles over metal versus wood to the effect of wheels rolling over different textured surfaces, had to be meticulously stitched together to authentically represent the playing experience.