In a bold, creative partnership, Oakley and Axiom Space unveil their collaboration on a next-generation space visor—engineered with a deployable gold coating—for humanity’s return to the moon after over 50 years. Set against the backdrop of the Artemis III mission, the film blends cutting-edge science with mythic futurism. Oakley’s role reflects a commitment to precision, resilience, and forward-thinking design at the edge of possibility.

The Music
The score mixes airy, melodic ideas with bold, synth-driven sounds to reflect the beauty and intensity of the story. I shaped the music tightly in chapters that follow the film's flow, starting with spacious drones and gradually building into more layered, emotional passages to capture the feeling of space exploration. With so much technical detail on screen, my aim was to keep the story feeling human, helping people stay connected to the emotion behind the science.

The Sound
The sound design was deeply complex and fast-paced, built from hundreds of intricate layers that leaned into metallic resonances, high-frequency textures, and expansive spatial atmospheres. Each element was crafted to heighten the sense of physicality and scale, supporting the film’s momentum from microscopic shifts in the lab to the vastness of orbit.

offering a cinematic portrait of one of the world's most culturally rich and fiercely protected nations. Directed by Adam Slama and produced by Studio Khonsu, the film weaves sweeping Himalayan landscapes with sacred rituals and intimate moments to reposition Bhutan as a singular, awe-inspiring destination.

The Music

The score blends live cello with original recordings of Bhutanese chanting, bells, and wind instruments captured on location. Inspired by the footage's natural rhythm, the music flows through tonal chapters, layering raw textures with melodic motifs to mirror the emotional arc of the edit. Each shift in energy was shaped around moments of silence, space, and ritual.

The Sound

Sound design was rooted in real-world acoustics, using recordings of traditional instruments, ambient reverb, and natural atmospheres. These elements grounded the cinematic score in Bhutan's sonic reality, allowing voices, bells, and footsteps to sit meaningfully within the soundscape. Every detail was crafted to move in rhythm with the land, the people, and the film's sense of spiritual momentum.

Commissioned by Tonga Tourism, Where Time Begins is a cinematic tribute to the first place on Earth to greet the sun. Directed by Adam Slama and produced by Studio Khonsu, the film blends sweeping natural imagery with cultural depth, anchored by a soundscape built from Tonga’s land, sea, and people.

The Music

The score blends atmospheric textures with organic instrumentation, shaped from field recordings captured across Tonga. From underwater whale song to cathedral choirs and traditional chants, I structured the music around these elements, using them to guide the emotional rhythm of the film. I aimed to keep the story grounded and authentic while carrying the audience through its powerful emotional arc.

The Sound
The sound design draws directly from the environment—ocean tides, volcanic landscapes, breath, body, and movement. Each layer was built to mirror the film’s physical and emotional journey, from quiet reverence to the raw power of the Sipi Tau. The result is a soundtrack that doesn’t just accompany the visuals—it breathes life into them.

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.

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,