1. Project Overview
My portfolio consists of 2 projects in collaboration with film students. This was suitable for me, given my previous music production experience using found sounds, ambient recordings and granular synthesis. Although I had studied music for film, these were my first true collaborations with film directors in the role of composer/sound engineer.
MOM LEFT IN THE NIGHT
This project is a short animated film following a dog whose owner is abusive and cruel. The aim of the project was to creative a creative, engaging and emotionally potent film, which will be released independently and should be a valuable addition to each team member’s professional portfolio.
My collaborators were Claudio Figueirido (director) and Emma Ho (producer), who both study Animation at Leeds Arts University:
HOW DOES THIS WORK?
This film is a creative exploration of how written text and sound can be used to manipulate audience interpretations of meaning, in the context of a film with an extremely restricted audio-visual aesthetic. We aim to submit this film for the Norwich Film Festival, for which the standard deadline is 24th May.
My collaborator was April Araki, an independent filmmaker with experience directing her own film projects with abstract/experimental approaches and little to no budget. Her previous work ‘Anchoress’, for which I was credited as sound engineer, is a good example of her unique style:
2. Panopto Video – Final Product (10-12 Minutes)
3. Chronological Monthly Diary
MOM LEFT IN THE NIGHT
March
- Met on 18th March.
- Met in-person on 27th March to discuss the musical style in more depth.
April
- Completed first draft of music with basic sound editing on 24th April.
- Visuals are currently being finalized.
- Final edits and additions to the sound design will be completed before final deadline on 18th May.
HOW DOES THIS WORK?
October-December
- First contacted April on 15th of October.
- April developed her idea from then until February.
- I conducted research into relevant experimental music and films between November and January.
January
- Organised recording session on 7th January with Iris Casling, free-improviser and double bassist.
February
- Began exchanging ideas with April and agreed on a schedule aiming to complete first draft by 29th March.
- Called each week from 27th February to ensure project was progressing properly.
March
- Created drafts for roughly 4 minutes of film.
- We agreed to extend the deadline to the end of April, due to unexpected workload from other commitments.
April
- Finalised structure and visuals on 1st April.
- Finished all audio elements by 21st April.
4. Evidence of Planning/Process
Screenshot evidence of all communications is included in the appendices.
MOM LEFT IN THE NIGHT
Since the team had already prepared an animatic, I was able to begin working on the film shortly after our first meeting. We agreed on a deadline for music on 25th April. The final deadline for Claudio and Emma is 18th May, so the remaining time will be used to finalise the audio elements alongside more complete visuals.
HOW DOES THIS WORK?
When I first contacted April in October, she had plans for a new film but wouldn’t be able to enter post-production until January. In November, she sent me a basic outline for the project, explaining her ideas surrounding the use of written text as the central focus of the film, allowing me to conduct extensive research between November and January. In February we made a plan for completion, as represented below:
We communicated regularly via email and WhatsApp calls to check each other’s progress. However, due to external factors taking up more of our time than anticipated, we agreed to push the deadline back to 25th April. After this point we remained on schedule, and we still have one month left before the Norwich Film Festival submission date, which we can use to polish our work further.
CONTINGENCY PLANS
My original plan for the portfolio had been to include roughly 10 minutes of film in collaboration with April, but once she had finished the pre-production phase it became clear that the total length of our collaboration would actually be approximately 7 minutes.
My first contingency plan had been to collaborate with film students from Leeds Beckett, following the mixer event on 27th November. I was initially asked to work on two films, but was only able to work on one, as one group unexpectedly decided to work with another composer (though I had been unaware they were considering this). The remaining film was also strained by unclear communication regarding the requirements for the music, as well as unexpected last-minute changes to the editing and structure.
Feedback from my in-class presentation made it clear that my work on April’s film was the strongest, due to its strong research foundation, while my work with film students at Leeds Beckett was comparatively weak. Therefore I ultimately opted to use my 2nd contingency plan – the animation project.
5. Reference Material/Inspiration
MOM LEFT IN THE NIGHT
My in-class presentation highlighted that the strength of my project with April was in its research, and therefore my other projects should be equally well-researched to ensure consistency across my portfolio.
Although Claudio was unable to give clear references, we agreed that the music should be understated, slow-paced and melancholic, and I suggested a few different references. Claudio took most strongly to my suggestion of taking inspiration from film and TV scores by Hildur Guðnadóttir, as well as other modern ambient scores, such as those for films Aftersun (2022) and Sentimental Value (2025). This led me to compose using a range of found-sounds and ambient textures.
One key feature of Guðnadóttir’s work is “crossing between the conventionally separated areas of sound design and composition” (Hill, Hayward, 2021) – one of my key reference tracks, Pump Room (2019) from the score for TV series Chernobyl, clearly showcases this:
I also composed based on a general understanding how ambient music is used in combination with visual media – Axel Berndt (2019) identifies key features of modern ambient music in media as: “sounds with bell-like amplitude envelopes such as piano,
vibraphone, harp, and bells”; “pad and drone sounds” and “atmospheric sounds”. He adds that “rests of up to 10 seconds” are typically left to allow “tone releases and long reverberations” to be heard clearly.
For the sound editing elements, I used the same films as above as reference points for professional quality, while also following the general advice of online tutorials such as this:
HOW DOES THIS WORK?
This project began with a foundation in structuralist film theory. Associated academics, such as Roland Barthes and Jacques Derrida, have had huge influence in modern understanding of how meaning is created, emphasising that it is not fixed, but rather constantly in flux – Derrida’s (1967) concept of ‘différance’ covers this idea extensively. This is relevant to our project, as we attempted to deliberately exploit the subjectivity of signs and meaning in a film context, specifically in relation to written text on-screen.
The film is a blatantly abstract visual poem, exploring how meaning can be created in the absence of conventional structures, visual motifs or even grammar. By changing the number of frames each word or symbol and each blank screen is displayed for, April was able to influence the viewer’s interpretation of the poem significantly. The sound element complicates the meaning further – for example, by closely syncing sounds to the appearance of words on-screen, I created a clear expectation of how the visuals and audio would interact. This association was then warped (through the use of stereo imaging, layering and effects processing) in each of the subsequent sections in order to keep the viewer engaged and explore how different sounds affect the interpretation of the text.
One of our main reference films was Peter Greenaway’s H is for House:
From the start I knew I wanted to compose using audio samples, as I was inspired by the seminal works of Pierre Schaeffer, Karlheinz Stockhausen and Éliane Radigue. Many of their compositions were based on manipulations of tape recordings, which allowed them to compose using “recorded environmental sounds” – rather than “traditional Western musical instruments” (Godoy, 2021). I adopted a similar methodology for this project by deriving all sound on the film from a single recording. Additionally, my work was informed by theories of film sound, including Michel Chion’s (1994) book Audio-Vision and Rick Altman’s (1992) writing on the ‘material heterogeneity of recorded sound”, both of which discuss the massive potential for unique expression in recorded sound.
I also had an interest in free improvised music, such as the works of Barry Guy and Maggie Nicols, which led me to invite Iris Casling, a local free improviser, to be a part of the project by helping me to create the sample library which became the foundation of every sound in the film.
Finally, rather than exploring tape machines as my above references did, I decided to incorporate contemporary electronic music techniques, such as those used by Arca, Aphex Twin and Oneohtrix Point Never. Each of these artists creates experimental modern electronic music characterised by extremely detailed and abrasive audio manipulation.
For the final section of the film, which features a series of film clips in montage, I drew from the works of Simon Fisher Turner in collaboration with Derek Jarman. The Garden (1990) was particularly inspiring, as it pairs music with visuals effectively through a systematic layering of samples and synthesizers, with a clear focus on texture rather than melody, harmony or rhythm.
6. Use of Technology
See appendices for vlogs for both projects.
MOM LEFT IN THE NIGHT
Due to the short time I was given to compose, I was unable to explore the field-recording approach of Hildur Guðnadóttir. Instead I decided to create similar effects using samples I had collected from other projects, including two from the recording with Iris.
These samples were turned into pads using Ableton Live’s Sampler instrument and included recordings of cymbal scrapes bowed double bass. I used a VST piano plug-in for the penultimate section of the film, and I also printed the piano audio to use within another sampler, which resulted in the swelling synth tone heard at several points in the film. All sounds were processed through a reverb plug-in with a long decay and an EQ filter to create the vast sense of space while maintaining control of the mix.
For the dialogue elements, I was asked to make all of the human characters’ voices muffled, but still intelligible – to get this effect, I used EQ to remove high frequencies and boost low-mids.
To make the audio more realistic and immersive, I sourced royalty-free room ambience recordings from the website pixabay.com.
HOW DOES THIS WORK?
My first step was recording Iris on 7th January. I set up 5 microphones randomly in the live room in studio 115, then allowed Iris to improvise using double bass, cello, bass recorder, bells, cymbals and random objects while moving freely in the space. The result was a 40 minute long audio recording, from which I derived every sound in the film.
For the first section I used completely unprocessed audio clips with lengths that directly corresponded to the length of time each word appeared on the screen. The absence of reverb or any kind of ‘smoothing’ of the edits was intended to mirror the ultra-minimalist aesthetic of the visuals, and to help to establish the ‘rules’ of the film by closely linking the sound with the text. This also intentionally disregards conventional sound editing, for which the “most widespread function” is “unifying or binding the flow of images” by using “sound overlaps” and “establishing atmosphere” (Chion, 1994:47).
The following sections introduce sustained sounds, though abruptly edited around specific words to imply significance. I used the Sampler and Granulator instruments within Ableton Live to create unique timbres, and combined this with heavy effects processing to transform the original samples into less recognisable instruments.
Another key feature of my production was the extensive use of non-synced LFOs, each with unrelated rates – this allowed me to introduce random chance into specific parameters, eliminating any sense of rhythmic pulse:
For the final section with footage, I mimicked the zoom of the camera musically by making use of the pitch envelope in Sampler.
7. Evaluation
MOM LEFT IN THE NIGHT
Evaluation of process:
The process was fast-paced, since I was only able to begin working in April. At the time of the in-class presentations, I hadn’t yet begun my composition, so I only presented my initial plans and references. The feedback I received highlighted that the research element in this project was significantly weaker compared to my project with April, and as a consequence the musical/artistic direction was less clear.
Unfortunately Claudio hadn’t been able to find clear references for the music when we first met, so to tackle this issue I conducted further research and listening while reviewing the animatic, and found two specific tracks that I thought could be appropriate. I emailed these to Claudio and received a reply soon after saying they were “perfect references for the kind of music we want”. With clearer references in place, I was able to complete the music relatively quickly and could ensure the quality by directly comparing my music with tracks like Pump Room and my reference films.
Evaluation of product:
Although the animation is still incomplete, it is clear at this stage that the product will achieve our original goal, which was to create a creative, engaging and emotionally potent film for independent release and for our professional portfolios.
Specifically regarding my contribution, I ensured my work was high quality by directly comparing with the reference tracks/films. Furthermore, I received positive feedback from both Claudio and Emma, as well as positive informal feedback from my peers. Claudio said specifically that he loves the “eerie and ambient” effect of the music, adding that “the build up is amazing”.
However, work still needs to be done on the sound effects, and I am currently waiting for Claudio to send me more detailed feedback and plans for completing the rest of the audio. I felt that the short time-frame limited the potential for creative exploration – in future projects I would like to work closely with the director from an earlier stage, to ensure that the final music and visuals complement each other stylistically. I would also like to allow more time for research into field recordings, and the general working practices of sound artists and composers such as Guðnadóttir.
I have prepared a SWOT analysis summary below:
HOW DOES THIS WORK?
Evaluation of process:
As noted already, the project took longer than initially planned, as both myself and April became busier than anticipated and struggled to commit as much time to this film as we would have liked. However, after adjusting our plans, we managed to stay on-schedule and I believe we are well-prepared for submission to the Norwich Film Festival. Our communication was very consistent throughout the year, allowing us to consistently provide feedback for each other and constantly improve the quality of our ideas and the clarity of our artistic direction. The feedback from our in-class presentations praised this project’s strong references and research foundation and unique concept.
Evaluation of product:
I believe the product achieved the artistic goal we had been aiming for, which was to explore how meaning can be created/manipulated using an ultra-restricted approach to both visuals and audio. The quality was ensured by providing each other with consistent feedback in our weekly phone calls, as well as by constantly comparing the film with our references during the development process.
Although I am pleased with the work included in this portfolio, both April and I are keen to explore this idea even further and to use the remaining time before our final deadline to polish and refine the product after taking more time to critically review what we have made so far. If we were to do a similar project in the future, I would like to schedule more time for testing ideas together, as there are still many possibilities we haven’t been able to fully explore due to the limited time-frame.
I have summarised the project evaluation in a SWOT analysis below:
8. Bibliography
Aftersun (2022) Directed by Charlotte Wells. Available at BBC iPlayer [Accessed 27/04/2026].
Altman, R. (1992) Sound Theory, Sound Practice. London: Routledge.
Berndt, A. (2019) Adaptive Game Scoring With Ambient Music. In Adkins, M. and Cummings, S. (2019) MUSIC BEYOND AIRPORTS:
appraising ambient music. Huddersfield: University of Huddersfield Press.
Chion, M. (1994) Audio-Vision: Sound on Screen. New York: Columbia University Press.
Derrida, J. (1967) Of Grammatology. Baltimore & London: Johns Hopkins University Press.
Godøy R. I. (2021) Perceiving Sound Objects in the Musique Concrète. Frontiers In Psychology 12. https://doi.org/10.3389/fpsyg.2021.672949
Hildur Guðnadóttir (2019) Pump Room, Chernobyl: Music from the Original TV Series. Decca Records.
Hill, M. and Hayward, P. (2021) Ascendancy: The Rise and Recognition of Hildur Guðnadóttir as a Screen Composer. In Wilcox, F. Women’s Music for the Screen: Diverse Narratives in Sound. New York: Routledge.
H is for House (1976) Directed by Peter Greenaway. Available at BFI Player [Accessed 27/04/2026].
Sentimental Value (2025) Directed by Joachim Trier. [Feature Film]. UK: MUBI.
Simon Fisher Turner (1991) The Garden (Original Soundtrack). Mute Records.
Appendices
Appendix 1: Use of technology VLOG – Mom Left In The Night
Appendix 2: Use of technology VLOG – How Does This Work?
Appendix 3: In-class presentation slides:
Appendix 4: In-class presentation feedback:
Appendix 5: Contingency Plan 1 – We Need To See Other People
Appendix 6: Screenshots of all communications:
