Kamila Manka
Film, Game & Media Composer
Hybrid orchestral composition and atmospheric sound design for visual storytelling.
📍Leeds, UK
📧 kamilamanka@icloud.com
📞 (44) 7523 844756 (WhatsApp)
📷 Instagram @kamaa.music
📀 SoundCloud Kamila Manka
🎥 YouTube @kamilamanka7381
Kamila is currently studying Film Music at Leeds Conservatoire, where she continues to develop her artistic voice as a composer for film, animation and contemporary media. Her work is characterised by emotional sensitivity, cinematic awareness and a strong instinct for storytelling through sound. With a naturally imaginative and expressive approach to composition, she demonstrates a particular interest in creating immersive musical atmospheres that support narrative and visual emotion.
As a developing composer, Kamila is recognised for her creativity, adaptability and openness to collaborative work. She approaches each project with curiosity and professionalism, continuously exploring new compositional techniques, textures and methods of sonic experimentation. Her musical style is strongly influenced by cinematic piano writing, ambient textures and hybrid orchestral elements, often combining delicate melodic motifs with atmospheric sound design to create emotionally engaging soundscapes.
Alongside her compositional practice, Kamila continues to strengthen her technical and creative skills within the field of media composition. Her workflow for film and visual media production is primarily centred around Logic Pro, which she uses extensively for scoring, arrangement and synchronisation to picture. In addition, she also works within Ableton Live, where she enjoys exploring more experimental and independent forms of music production outside traditional film scoring contexts. This balance between cinematic composition and freer contemporary production allows her to develop both technical versatility and a broader creative identity as a musician and producer.
She has experience working with digital audio workstations, virtual instruments and contemporary production techniques commonly used within film and game music production. Her growing understanding of synchronisation, pacing and emotional scoring allows her to respond thoughtfully to visual material and narrative structure.
Kamila is particularly interested in music for animation, short film and emotionally driven visual storytelling. Her compositional approach often prioritises subtle emotional detail, intimacy and atmosphere, reflecting an interest in how music can shape audience perception and deepen narrative immersion.
In terms of practical experience, she has actively collaborated with fellow students and independent creatives on a range of developing media projects. These include contributing music to student documentary productions currently in development, creating soundtracks for short-form social media content, and composing original music for short films produced by emerging photographers and filmmakers. Through these collaborations, she has gained valuable experience in creative communication, interpreting feedback and adapting musical ideas to suit different visual styles and project requirements.
As an emerging composer at the beginning of her professional journey, Kamila continues to build her portfolio and refine her artistic identity. She remains highly motivated to expand her collaborative network, develop her technical expertise and contribute to future projects within the film, animation and media industries.
The purpose of my EPK is to present myself as an emerging composer for film, animation, games and contemporary media, whilst also offering a more personal insight into my creative identity and artistic personality. Rather than presenting myself through exaggerated claims or overly promotional language, I aimed to focus on authenticity and factual representation of my current skills, interests and creative direction. I believe this approach creates a more honest and relatable presentation of who I am as an artist at this stage of my development.
The structure of the EPK was designed to be accessible and visually clear for its intended audience, which may include filmmakers, content creators, collaborators and potential clients. The inclusion of short written descriptions, visual material and direct access to audio and video examples allows viewers to quickly understand both my musical style and the type of projects I am interested in working on. I also included information regarding the digital audio workstations and production software I use, as I recognise that within media composition and production industries, technical workflow can sometimes influence professional collaboration and suitability for certain projects.
As a first-year student, I am aware that some aspects of the EPK are still relatively limited in comparison to more established composers and industry professionals. Although I would like the overall presentation to appear more polished and technically refined in the future, this project represents an important starting point in understanding how composers professionally present themselves online. In particular, I would like to further develop the visual identity of the website and create a stronger cinematic aesthetic inspired by professional composer portfolios. My long-term vision would include larger professional photographs, potentially showing myself within a creative studio environment or a more visually atmospheric setting that reflects my artistic identity. I am particularly interested in minimalistic but immersive visual presentation, including subtle animated text or moving visual elements that would create a more modern and engaging experience for viewers.
In terms of content, I included an original soundtrack suitable for a romantic drama film or television production in order to immediately demonstrate the emotional style and atmosphere of my compositional work. I also incorporated two video examples featuring my original compositions to provide evidence of active engagement with media scoring and audiovisual storytelling. Whilst some technical difficulties occurred during the uploading process, such as one video not correctly reproducing audio, this experience highlighted the importance of continuing to develop my digital and technical skills alongside my creative practice.
Finally, I believe both Instagram and a professional EPK remain highly relevant within the contemporary creative industries. Instagram offers opportunities for visibility, networking and audience engagement, potentially leading to collaborations and future professional connections. In contrast, an EPK provides a more structured, professional and detailed representation of an artist’s work and identity. In my view, these platforms function most effectively when used together, with social media directing audiences towards a more comprehensive professional portfolio.
My current target audience primarily consists of emerging filmmakers, student directors, animators, content creators and low-budget independent producers who may require original music for short films, documentaries, animations or online media content. As my professional practice develops further, I would aim to collaborate with larger production companies, advertising agencies, game developers and film studios seeking music for commercial campaigns, films and multimedia projects.
The structure of my EPK was intentionally designed to provide immediate access to my creative work rather than lengthy written descriptions. Whilst a concise biography is included to introduce my artistic identity, the main focus remains on audiovisual examples and original compositions, allowing potential collaborators to quickly determine whether my musical style suits their project. I believe versatility is particularly important within media composition; therefore, I intend to expand my portfolio further by including a wider range of genres such as orchestral, electronic and lo-fi compositions in order to demonstrate creative flexibility and increase opportunities for collaboration.
Additionally, contact information and social media links are clearly displayed within the opening section of the EPK, making communication easily accessible for potential clients and collaborators.
After researching professional composer websites, I observed that accessibility and simplicity are common industry standards. For example, Hans Zimmer’s official website (Hans ZImmer Website, 2026) focuses almost entirely on projects and soundtrack links, whilst John Williams’ website (www.johnwilliams.org, n.d.) presents a more archival and informative structure. Similarly, Theodore Shapiro’s website (Shapiro, 2026) adopts a minimalistic aesthetic whilst maintaining effective access to projects and music samples. These examples demonstrated to me that simplicity and accessibility are often more effective than excessive visual complexity, although I would still like my own EPK to incorporate subtle cinematic visuals and artistic graphic elements.
A professionally presented EPK may play a significant role in creating future professional opportunities within the creative industries. As an emerging composer, I understand that an EPK functions not only as a portfolio of creative work, but also as a digital business card and an important part of personal branding. A well-structured and visually engaging EPK may contribute towards attracting potential clients, collaborators and creative networks, similarly to how social media platforms operate within contemporary media industries. In this sense, the EPK becomes both a promotional tool and a representation of artistic identity (Bradbury, 2023).
In order to create a professional and aesthetically coherent EPK, there are several financial considerations that may need to be acknowledged. Professional promotional photography, website design, domain ownership and hosting services may all involve financial investment. Although highly polished visual presentation is not always essential, particularly for emerging artists, professional imagery can help establish credibility and create a stronger first impression. During my research into professional composer websites, I noticed that some artists use carefully staged promotional photography, whilst others rely on project-related visuals or minimalistic design approaches. This demonstrated that there is no single industry standard, but rather different methods of presenting artistic identity effectively.
Additionally, the creation of an EPK may involve expenses related to graphic design, logos, audiovisual equipment and digital software subscriptions. Depending on budget and technical ability, artists may either commission professional designers and developers or use accessible platforms and templates such as Canva
to assist with layout design, branding and visual presentation. These tools may provide a more affordable alternative whilst still allowing artists to create a professional online presence.
Legal and intellectual property considerations are also highly important within media composition and digital presentation. When sharing creative work online, it is necessary to acknowledge authorship and ownership of music, photography, video and visual content. This includes crediting photographers, filmmakers, animators or mixing engineers where appropriate, as well as ensuring that permission has been granted to publicly share collaborative projects. It is also important to consider artistic branding and consistency across platforms. Ideally, the same artist name and social media handles should be used across websites and digital platforms in order to improve accessibility and audience recognition. However, this may become challenging if a chosen artist name has already been claimed on certain platforms.
At the beginning of this project, I initially believed that the task required the creation of a fully developed professional website containing approximately two thousand words of detailed content. However, after discussing the assignment with another student who had also begun developing their EPK, I realised that the purpose of the project was not necessarily to create a completely finished and industry-ready platform, particularly as we are only at the beginning of our professional development within the creative industries. This understanding was further reinforced during seminars, where it became clear that the assignment was intended more as an exploration of professional presentation, experimentation and understanding what may or may not work within a future creative portfolio.
Initially, I imagined my EPK as something visually loud, colourful and highly attention-grabbing, largely because several examples presented during seminars followed that aesthetic. Although those designs were visually impressive and engaging, conducting independent research into the websites of professional film composers significantly changed my perspective. After analysing composer portfolios and official websites, I noticed that many successful composers adopt a far more minimalistic and restrained visual style. This led me to reflect on the difference between artists whose music primarily functions as entertainment and composers working within film, advertising and media industries, where music often serves a narrative or emotional purpose rather than existing solely as standalone entertainment.
As a result, I concluded that a more subtle and cinematic visual identity would be more appropriate for my own EPK. I believe that muted colours, cleaner layouts and a less visually aggressive presentation better reflect the nature of media composition and the emotional role that music often plays within film, animation and storytelling. I also believe that an EPK should, to some extent, reflect the personality and artistic character of the composer themselves.
Throughout the development process, I became increasingly aware of my current technical limitations. Using the SHOW platform provided by Leeds Conservatoire was more challenging than I initially expected, particularly when attempting to position images, text and visual elements exactly as I had imagined them. Although the final result does not fully reflect my original vision, it represents an important learning experience regarding digital presentation and online creative branding.
I also encountered technical difficulties whilst uploading audiovisual media. For example, when attempting to upload an animation project to both YouTube and Panopto, only the sound design remained audible whilst the musical composition itself disappeared from the final upload. Although I am still attempting to identify the cause of this issue, I chose to leave the project included within the EPK as evidence of experimentation and genre diversity within my work.
Moving forward, I would like to further expand both the visual and creative aspects of my EPK through additional collaborations, a broader musical portfolio and potentially interviews or behind-the-scenes content. I also recognise that my artistic identity and compositional style are likely to evolve over time, meaning the EPK will require continuous updating and refinement. Overall, this project encouraged me to reflect critically on how artists present themselves professionally online and how difficult it can be, particularly at the beginning of a creative career, to confidently and authentically communicate one’s own value and artistic identity.
Bibliography:
- Bradbury, W. (2023). How To Make An EPK For Artists (with examples & templates). [online] Pirate Studios. Available at: https://pirate.com/en/blog/epk-music-artists/.
- Zimmer, H. (2026) Hans Zimmer. Available at: https://hans-zimmer.com/artistes/hans-zimmer/ (Accessed: 11 May 2026).
- Williams, J. (n.d.) John Williams | Home. Available at: https://www.johnwilliams.org/ (Accessed: 11 May 2026).
- Shapiro, T. (2026) Home | Theodore Shapiro. Available at: https://www.theodoreshapiro.com/ (Accessed: 11 May 2026).
