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SHR6E032F~002 Portfolio and video evidence TEMPLATE

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1. Project Overview

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Project 1 – Beyond The Surface

Nature of project

The nature of this project was to create a time-lapse video documenting a group of artists creating a painting with an original track composed by me to control the pacing, rhythm and duration of the visual experience.

Vision of final project

My vision for the project was to create a polished, high-quality audiovisual piece that reflects the inspiration behind the original concept with the music aligned to the progression of the video so that both elements are fully integrated and consistent (Appendix A, Figure 1).

Objectives

My main objective was to explore the relationship between music and visual art by creating a project in which the music directly influenced the painting process, whilst the developing artwork also gave new meaning to the music.

Nature of collaboration

The collaboration for this project consisted of 4 artists who frequently worked together creating the painting to which music was applied. The draft of the music was sent to them to help inspire the artwork, allowing both art forms to influence each other (Appendix A, Figure 2). After the painting was done, I finished the music and applied it to the video.

Collaborators

I found and worked with 4 artists who were passionate about the project and keen to collaborate (Appendix A, Figure 3).

Project 2 – Busked Light Show

Nature of project

The nature of this project was to create a lighting design previsualisation that demonstrates a busking-style approach to live lighting control. As seen in the photos and video (Appendix A, Figure 4), the lighting was controlled and operated in real time, simulating how a lighting designer would “perform” to music during a live show (Appendix A, Figure 5).

Vision of final project

My vision of this project was to have a professional previsualisation (Appendix A, Figure 6) that would be suitable for presentation to an artist or production team before an event to demonstrate what the show would look like. In this case Mosaic Festival, which occurred the day after (Appendix A, Figure 7).

Objectives

My objectives were to show a busking-style design workflow, which uses real-time control of the lights to the music played, producing a video that shows the lighting changing with the structure and energy of the music. 

Nature of collaboration

Outside of university, I tour manage a group called HALŌ (HALŌ, n/a) and was able to work closely with their lighting designer to create this project. Prior to Mosaic, we undertook two days of previs (Appendix A, Figure 8) where we built out our show for the year. Using the looks we had created during that process, we recorded the visualisation in real-time, simulating a live performance environment (Appendix A, Figure 9). 

Collaborators

The main collaborator for this project was the lighting designer for HALŌ, whose role was essential in developing this project due to their skills and expertise in live lighting design, guaranteeing the previs correctly reflected the live environment.

Project 3 – Labyrinth On The Thames 2025

Nature of project

For this project, I created a 4-minute video which showcased some of the best content captured during the ‘Labyrinth On The Thames 2025’ series, which featured some of the world’s biggest artists performing at the Old Royal Naval College (Appendix A, Figures 10, 11 & 12) in London for the company, Labyrinth Events (Labyrinth Events, 2026). 

Vision of final project

My vision for this project was to create a high-quality video that effectively captures the feeling and excitement of witnessing and being a part of a project like this (Appendix A, Figure 13). I also worked to ensure I captured the emotion and feeling within the music created.

Objectives

My main objectives were to review the Labyrinth content archive and select the strongest moments captured across the 6 shows (Appendix A, Figure 14). I tried to construct a clear narrative structure that transitions from day to night and reflects the energy and progression of a live festival environment, from opener to headliner (Appendix A, Figure 15). I also intended to create a track that immersed you in the emotion of experiencing the shows in person.

Nature of collaboration

Having worked with Labyrinth since 2024, collaborating with the social media team, I was able to access unreleased footage from the series (Appendix A, Figure 16). While there was no direct collaboration during the editing process, the material itself was produced by a wider professional production, which informed the final edit.

Collaborators

The main collaborators were Labyrinth Events, as well as the content team and Shot Like This (SHOTLIKETHIS, 2026), who recorded the majority of the footage seen in the video.

Overall, the main objectives were to: produce 10-12 minutes of original music that led visual content across the three distinct projects; demonstrate my skills as a creative using FL Studio & Premiere Pro (Appendix A, Figures 17 & 18); and create polished output for all 3 projects, suitable to be used as part of a portfolio or as promotional material for each collaborator (Appendix A, Figure 19).

2. Panopto Video – Final Product (10-12 Minutes)

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3. Chronological Monthly Diary

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Project 1 – Beyond The Surface

November 2025

• Initial planning and creating ideas

• Reached out to potential collaborators (Appendix A, Figures 20-25

December 2025

• Collaborator confirmed (Appendix A, Figure 26)

• Discuss artwork direction, style and how the project would be carried out (Appendix A, Figures 27-31)

January 2026

• Continued artwork planning and creative development

February 2026

• Original collaborator withdrew from the project (Appendix A, Figure 32)

• Searched for a new collaborator

• Main track idea created (Appendix A, Figures 33, 34 & 42)

March 2026

• Planned the session, location and filming day (Appendix A, Figures 35-37)

• Planning logistics; canvas setup and material organisation + hanging logistics (Appendix A, Figures 38-40)

• Version 1 of the track sent to artists (Appendix C, Figure 1)

• Recording took place (Appendix A, Figure 41)
• Track completed (Appendix A, Figure 43)

April 2026

• Editing and post-production completed (Appendix A, Figure 44)

• Track mastered

• Final export completed (Appendix A, Figure 45)

Project 2 – Busked Light Show

December 2025

• Initial contact made with the lighting designer (Appendix A, Figure 46)

February 2026

• Meeting held to discuss looks, styles and creative direction (Appendix A, Figure 47)

• Initial track ideas created (Appendix A, Figures 48 & 49) (Appendix C, Figure 2)

March 2026

• Track creation began

• Initial in-person meeting to review looks and concepts (Appendix A, Figure 50)

April 2026

• Main previs and recording day completed (Appendix A, Figure 51)

• Track completed (Appendix A, Figure 52)

• Track mastered

• Final audio applied and synced to recording (Appendix A, Figure 53)

• Final export completed

Project 3 – Labyrinth On The Thames 2025

November 2025

• Approach to Labyrinth Events with project idea (Appendix A, Figure 54)

• Agreed usage terms and content limitations (Appendix A, Figure 55)

December 2025

• Worked with marketing team to discuss creative direction (Appendix A, Figure 56)

January 2026

• Initial track idea started (Appendix C, Figure 3)

• Footage is sent over to me (Appendix A, Figure 57)

• Began reviewing footage and selecting best bits (Appendix A, Figure 58)

February 2026

• First version of track sent to Labyrinth (Appendix A, Figure 59) (Appendix C, Figure 3)

• Main edit began (Appendix A, Figure 60)

March 2026

• Received feedback on first edit and track (Appendix A, Figure 61)

• Made changes based on feedback given (Appendix A, Figure 62)

• Send second edit for approval

April 2026

• Second edit approved as final version (Appendix A, Figure 63)

• Track completed and mastered (Appendix A, Figure 64)

• Final export completed

4. Evidence of Planning/Process

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Project 1 – Beyond The Surface

Risk Analysis (Appendix D, Figure 1)

·      Collaborator(s) cancel(s) due to unavailability or illness

·      Damage to equipment before or during recording

·      Video stops recording due to storage error

·      Poor lighting affecting quality and colour correction in post-production

·      Recording session takes longer than expected

·      Damage to canvases

·      Mistakes during painting process

SWOT

Strengths

·      Unique crossover between music and art

·      Strong concept

·      Music created around movement in the video

Weaknesses

·      Reliant on collaborators

·      One chance to complete project or need more canvases / reschedule

·      Reliant on iPhone storage/power and laptop editing performance

Opportunities

·      Strong promotional / portfolio content for artists

·      Unique project

Threats

·      Artist withdrawal

·      Technical errors

PESTLE

Political – N/A

Economic – Cost of equipment

Social – Appeal through creative collaboration

Technological – Recording, storage, software failure

Legal – Permission to hang up canvas / film

Environmental – Suitable workspace, ventilation, paint mess

CONTINGENCY PLAN

·      Phone charger with extension lead

·      Test camera before shoot

·      Backup collaborators / rearrange recording day

Project 2 – Busked Light Show

Risk Analysis (Appendix D, Figure 2)

·      Designer unavailable

·      Software failure

·      Time for rest of show previz

·      File corruption

SWOT

Strengths

·      Industry collaboration

·      Unique and creative collaboration

Weaknesses

·      Dependant on a specialist

·      Dependant on hardware and software

·      Requires collaborator time and costs money

Opportunities

·      Can be shown to artists as show concept

Threats

·      Software issues

·      Time restrictions

·      One shot to do

PESTLE

Political – N/A

Economic – Cost of equipment and software

Social – Great social media content in the live industry 

Technological – Render software failure

Legal – Ownership of content

Environmental – Suitable workspace

CONTINGENCY PLAN

·      Plan thoroughly to avoid confusion

·      Screen record the pre-render (Appendix A, Figure 65)

·      Use draft version of track that captures arrangement and feeling

Project 3 – Labyrinth On The Thames 2025

Risk Analysis (Appendix D, Figure 3)

·      Social media team delay to send footage

·      Restrictions on unapproved content

·      Waiting for feedback (Appendix A, Figure 66)

·      Large files. Longer time to download and render (Appendix A, Figure 67)

SWOT

Strengths

·      Collaboration with established real-world company

·      Professional, high-quality footage (Anjunadeep, 2025)

Weaknesses

·      Dependant on feedback and approval

·      Limited control on where the video can go

Opportunities

·      Showcase editing and sync skills

Threats

·      Permission revoked

·      Confidentiality restrictions

PESTLE

Political – Permissions and venue regulations

Economic – Value of content

Social – Strong engagement through event culture

Technological – Large file sizes, download times, storage

Legal – Confidentiality protection

Environmental – Weather affecting footage quality/vibe

CONTINGENCY PLAN

·      Only use approved/posted clips

·      Keep backups of footage (Appendix A, Figure 68)

·      Use software allowing quick revisions

·      Confirm usage approval in writing (Appendix A, Figure 55)

Risk assessments, SWOT, PESTLE and contingency plans helped identify and manage creative, technical and collaborative challenges throughout production processes.

5. Reference Material/Inspiration

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Project 1 – Beyond The Surface

One of my main musical influences for this track was Skrillex (Skrillex. 2026), particularly for the out-of-the-box techniques in his tracks, which make them stand out. I was inspired by how his tracks are minimal but effective.

Specific technique I used, as heard in the track ‘Fine Day Anthem’ (Skrillex. 2023), a rumble-style bass created using a kick drum and reverb (Appendix E, Figure 1). I applied the same technique to create the same sound to add more thickness and depth to my track.

In terms of the project, my main inspiration was Martin Garrix (Martin Garrix, 2026), who did the same thing for one of his music videos (Garrix, M. 2016), where artists drew the album artwork, captured in a time-lapse (Appendix E, Figure 2). 

Project 2 – Busked Lighting Show

My main inspiration for this track is actually an unreleased track by HALŌ, which is very kick and bass focused. Apart from that, the main focus was to create a track that would work effectively within the live-rendered environment we were using. I tried to create this track with separate sections/arrangement and dynamic changes to give the lighting designer creative freedom when performing (Appendix A, Figure 69).

In terms of the project itself, I was inspired by a classmate, and since I work in the live industry, I wanted to try the same thing.

Project 3 – Labyrinth On The Thames 2025

For this track, the main inspiration was Black Coffee and Jimi Jules’s track, ‘Trippy yeah’ (Jules, J. 2025) (Appendix E, Figure 3). The drum groove is what caught my attention, and I tried to recreate it in my track with the rims. Whilst working at Labyrinth, there are a lot of Afro House events, so I thought it would fit nicely with the vibe. In terms of the second drop, I was inspired by Corey James’s track, ‘Paranoia’ (James, C. 2026), with the rising in pitch synths as heard in the second drop (Appendix E, Figure 4). 

For the project, my main inspiration was festival aftermovies as seen by Ultra Miami (UMF TV. 2025) and Tomorrowland (Tomorrowland. 2025), which capture the atmosphere and excitement from the crowd (Appendix E, 5 & 6).

6. Use of Technology

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Project 1 – Beyond The Surface

Produced in FL Studio, this track was inspired by Skrillex’s minimal production style. The main focus of this track is the rumble bass, which is created by processing with reverb and sampling a kick and sidechaining it to the kick. This technique is heard in Skrillex tracks, ‘Duro’ (Skrillex. 2026) & ‘Fine Day Anthem’ (Appendix E, Figure 7)

This is supported by a selection of drums and arpeggiated synths, which are also the main feature of the track. Additional effects such as compression, EQ, distortion and delay were used to shape the sound to how I wanted it to sound. Glitch effects were created using automation on Shaperbox to manipulate timing, volume, flanger and phaser.

This process is explored in more detail in the accompanying video vlog (Appendix B, Figure 1).

Project 2 – Busked Lighting Show

This track was designed with a minimal feel, focused on kick and bass to suit the lighting performance. I wanted the track to be stripped back and not too busy so that the viewer can focus on the visual performance. The bass was shaped to have a strong punch and presence in the mix using pitch modulation, compression, distortion and sidechain compression.

The layered plucks were the main feature of the track, used to create energy and rhythm, which were processed by compression, distortion and reverb to create space, and also automated to create variation. Additional effects, such as time and volume modulation, were used to create movement and stutter effects within the track.

Finally, an 808 hit was added in the drop to create depth and impact, which was processed to keep clarity between low and high frequencies using EQ and sidechain compression.

This process is explored in more detail in the accompanying video vlog (Appendix B, Figure 2).

Project 3 – Labyrinth On The Thames 2025

This track is mainly driven by drum grooves and rhythm to reflect the sound of Afro house (Afro House. 2026). The kick was processed to enhance punch and warmth and layer rim hits for the main groove of the track.

Melodic elements were created using different layered synths, which were processed with distortion, EQ and compression, with reverb automation used to build tension and release throughout the track. Additional sounds such as leads and pitch automation were introduced throughout the track to increase tension and variation.

This process is explored in more detail in the accompanying video vlog (Appendix B, Figure 3).

7. Evaluation

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Project 1 – Beyond The Surface

This project successfully achieved its aim of creating a collaboration that links visual art with audio, with the final outcome showing synchronisation between the painting process and the track (Appendix A, Figure 70). 

A key strength was the relationship between the music and the visuals, particularly as sound mimicked the fast pace within the video. The rumble bass and minimal arrangement worked effectively in delivering energy, whilst keeping focus on the visuals. This collaboration was also a strength, as working with the artists allowed for a more authentic visual outcome (Appendix A, Figures 71 & 74).

However, a limitation was the reliance on collaborators, highlighted by the original withdrawal, causing delays and requiring adjustments to the project timeframe. There was also pressure on the recording process as everything had to be captured in one session.

In future, I would allow more time for contingency and potentially plan multiple recording sessions to reduce risk. I would also further improve how the audio is integrated with the artwork for even more precise synchronisation. 

Overall, this project developed my skills in music production, editing and collaboration, particularly in creating content where audio influences art (Appendix A, Figure 72).

Project 2 – Busked Light Show

This project successfully achieved its aim of creating a professional lighting previsualisation using a busking workflow, with the final outcome demonstrating how lighting can be performed in real time.

A key strength was the use of the busking approach, which allowed the lighting to feel humanised, rather than fixed to a timeline. This helped replicate a live environment and make the output engaging. Collaborating with the lighting designer allowed the overall design to reflect industry-standard practice.

However, a limitation was the reliance on both the collaborator and the software, meaning there was limited time and only one opportunity to record this project (Appendix A, Figure 73). This meant everything had to be perfect on the day.

This was addressed through planning and preparation beforehand, including developing track structure and lighting looks in advance to ensure the session ran smoothly. In future, I would allow more time for testing and potentially record multiple takes in the case of failure. 

Overall, this project developed my understanding of how live lighting works and improved my ability to create music that supports this.

Project 3 – Labyrinth On The Thames 2025

The project achieved its aim of creating a high-quality festival recap that captures the atmosphere of the event.

A key strength was the narrative structure, with the edit moving from day to night and the music supporting this to make it an immersive experience. The quality of the footage also contributed to this professional outcome.

A limitation was reliance on external factors, such as restrictions on the use of the content. This was managed by working closely with the Labyrinth social media team and adapting the edit based on feedback.

In future, I would streamline the feedback process and explore advanced editing techniques, which would make the video even more interesting and immersive. This project helped develop my skills in editing, storytelling and working with clients.

8. Bibliography

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Labyrinth Events (2026) Labyrinth. Available at: https://www.labyrinthevents.com/ (Accessed: 06 May 2026). 

Shotlikethis (2026) SHOTLIKETHIS. Available at: http://shotlikethis.com/ (Accessed: 06 May 2026). 

Anjunadeep (2026) Marsh | Anjunadeep Open Air: London 2025 (Official Set), YouTube. Available at: https://youtu.be/oeiUVmMPjus?si=ZWsFoTwmBclezOLT (Accessed: 07 May 2026). 

Skrillex (2026) Wikipedia. Available at: https://en.wikipedia.org/wiki/Skrillex (Accessed: 07 May 2026). 

Martin Garrix (2026) Wikipedia. Available at: https://en.wikipedia.org/wiki/Martin_Garrix (Accessed: 07 May 2026). 

HALŌ | Instagram (No Date) Available at: https://www.instagram.com/halo__ofc/ (Accessed: 07 May 2026). 

Garrix, M. (2016) Martin Garrix & Florian Picasso – Make Up Your Mind, YouTube. Available at: https://www.youtube.com/watch?v=HyoQIibej6c (Accessed: 07 May 2026). 

Skrillex (2023) Fine day anthem, Spotify. Available at: https://open.spotify.com/track/6tifCCTIVBLC2TmTquYG7G?si=270a982460bf4a7f (Accessed: 07 May 2026). \

James, C. (2026) Paranoia, Spotify. Available at: https://open.spotify.com/track/5OzhsmOckWk3Lh53KefPGQ?si=244223788e744580 (Accessed: 07 May 2026). 

Jules, J. (2025) Trippy yeah, Spotify. Available at: https://open.spotify.com/track/1CM0kiqrtCSHClFjTccTOb?si=78ddd09a655c4ba5 (Accessed: 07 May 2026).

UMF TV (2025) ULTRA MIAMI 2025 – INTO HYPERSPACE (Official Aftermovie), YouTube. Available at: https://www.youtube.com/watch?v=5eDxz3cLyHw&start_radio=1 (Accessed: 07 May 2026).

Tomorrowland (2025) Tomorrowland Belgium 2025 l Official Aftermovie, YouTube. Available at: https://www.youtube.com/watch?v=ryIz5jiT6Pc&list=RDryIz5jiT6Pc&start_radio=1 (Accessed: 07 May 2026).

Afro House (2026) Wikipedia. Available at: https://en.wikipedia.org/wiki/Afro_house (Accessed: 07 May 2026). 

Appendices

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This appendix contains general supporting evidence across all three projects, inducing screenshots, photos, videos, planning material and much more..

Figure 4 – Shows a clip of busking in action

Figure 5 – Shows busking being taken into a live environment

Figure 9 – Real time busking recorded by the software, Depence

Figure 72 – Before and after edit / skill development

This appendix contains technical walkthroughs of the FL Studio projects for each track, documenting my production processes and creative decisions.

Figure 1 – Technical walkthrough | Beyond The Surface

Figure 2 – Technical walkthrough | Busked Light Show

Figure 3 – Technical walkthrough | Labyrinth On The Thames 2025

This appendix contains early demo’s for each project

This appendix contains risk assessments and contingency planning documents created to identify and manage potential challenges throughout the collaborative process.

This appendix contains media references such as tracks, video and visual inspirations throughout these projects that also helped inform creative decisions.

Figure 1 – Fine Day Anthem, Skrillex

Figure 2 – Make Up Your Mind, Martin Garrix

Figure 3 – Trippy Yeah, Jimi Jules

Figure 4 – Paranoia, Corey James

Figure 5 – ULTRA MIAMI 2025 – INTO HYPERSPACE (Official Aftermovie)

Figure 6 – Tomorrowland Belgium 2025 l Official Aftermovie

Figure 7 – Duro, Skrillex

Appendix F – Extra Evidence Material

This appendix contains additional supporting material related to the final presentation of each project.

Project 1: Beyond The Surface

Project 2: Busked Lighting Project

Project 3: Labyrinth On The Thames 2025