Clustomer Service is a collaborative short film project developed through Griffith Film School, for which I served as composer and sound designer. The project functions as a complete applied exercise in screen music and audio post-production, requiring the creation of a cohesive sonic identity that supports narrative, pacing, and character development.

My role covered the full audio pipeline, beginning with early conceptual discussions and continuing through to final delivery for exhibition. This included original composition, sound design, dialogue editing, Foley integration, session organisation, and final mixing. The work required close collaboration with the directing and production team to ensure that musical and sonic elements aligned with the film’s narrative intent and editorial structure.

A key focus of the project was developing a unified relationship between music and sound design rather than treating them as separate layers. Musical material was shaped to respond directly to dialogue rhythm, visual editing, and tonal shifts, while sound design elements were constructed to reinforce narrative clarity and emotional pacing.

The project also required practical production discipline, including managing session workflows, organising assets for post-production efficiency, and adapting quickly to editorial changes throughout the film’s development. This demanded both technical precision and creative flexibility within a structured production timeline.

Ultimately, Clustomer Service represents an applied exploration of how sound can function as narrative architecture in film. The work demonstrates an approach to screen composition that is responsive, collaborative, and structurally integrated, where music and sound design operate as a single expressive system supporting the storytelling process.

The Jellyfish Suite is an ongoing large-scale compositional project exploring marine life as both an ecological system and a structural model for music. Written as a multi-movement suite, the work investigates how sound can behave like underwater environments—fluid, layered, and constantly shifting between clarity and obscurity.

At its core, the project uses jellyfish as a conceptual framework for musical form. Each movement reflects a different stage or behavioural quality of marine ecosystems: drifting, pulsation, bloom-like expansion, and deep-ocean stillness. Rather than treating these as programmatic “depictions,” the suite translates them into compositional systems—rhythmic instability, harmonic suspension, evolving textural density, and timbral transformation over time. The work draws on orchestral writing and electroacoustic techniques, combining traditional instrumental forces with studio-informed sound design approaches. This includes extended harmonic language, spectral textures, and layered rhythmic processes that emulate currents, bioluminescence, and underwater spatial diffusion.
A key focus of the project is spatial perception—how sound behaves in imagined or implied environments. The suite explores distance, blur, and movement not just as expressive tools, but as structural principles, reflecting how marine environments resist fixed perspective. Conceptually, The Jellyfish Suite is concerned with fragility, adaptation, and non-linear systems of movement. Jellyfish, as organisms without rigid structure, become a metaphor for music that is continuous rather than hierarchical—where form emerges through accumulation, decay, and transformation rather than traditional development.
The project ultimately aims to create a listening experience that feels immersive and ecological rather than narrative: music that behaves like an environment rather than a story, inviting the listener to inhabit rather than observe it.