Shreya S. Bhat

Available to hire

I am a sound designer currently working in the Indian film industry, passionate about crafting immersive and impactful sonic experiences for cinema, animation, and advertising.

About

I am a sound designer currently working in the Indian film industry, passionate about crafting immersive and impactful sonic experiences for cinema, animation, and advertising. My work focuses on shaping sound that enhances storytelling while maintaining clarity, depth, and emotional impact across every project.

With a strong interest in animation and commercial content, I enjoy exploring creative soundscapes that bring characters, environments, and narratives to life. Every project is approached with attention to detail, ensuring that sound design complements the visual language and musical score seamlessly.

Working alongside a dedicated and skilled team in a fully equipped studio environment, we handle projects of varying scales and formats. Our facility supports professional delivery in Dolby Atmos, 5.1, 7.1, and stereo, allowing us to meet the technical and creative demands of modern productions.

With no language barrier, we collaborate with creators across industries and regions, offering flexible and reliable sound solutions for films, animation projects, and advertisements—always aiming to deliver sound that elevates the final cinematic experience.

  • Joined March 2026

Languages

  • EnglishFluent
  • TamilAdvanced
  • MalayalamIntermediate
  • TeluguBeginner
  • KannadaBeginner
  • HindiIntermediate

Industry experience

  • Media & Entertainment
  • Education

Projects · 4

LINK:

The trailer for Rakkasapuradhol was edited with a careful focus on maintaining a clear balance between sound design and the musical score. The sound elements were shaped and placed in a way that supports the music rather than competing with it, ensuring that both layers complement each other and enhance the overall tension and atmosphere of the trailer.

Special attention was given to the transition moments. The ghost transitions were designed with subtle tonal movements and textural layers to create an eerie, immersive effect while smoothly blending into the surrounding soundscape. Similarly, the metal transitions were crafted with precise detailing—shaping the impacts, resonances, and tails so they add intensity without overpowering the music.

Every transition and sound element was carefully timed and refined to maintain clarity, rhythm, and cinematic impact, resulting in a cohesive trailer soundscape that elevates both the visuals and the score. 🎬🎧

  • Sound Designer
  • Sound Editor

LINK:

Featuring Mohanlal
Directed by Priyadarshan 🎬
Final Mix by M. R. Rajakrishnan 🎚️
Voice Over recorded at Resonance Audio 🎙️

For the sound design, we captured genuine KSRTC bus sounds directly from the set, carefully recording the mechanical textures and movements. My foley team then performed and layered additional elements to recreate the authentic feel of the bus in motion — from subtle body movements to interior details — bringing realism and life to the final track. 🎧

LINK:

Featuring Mohanlal
Directed by Priyadarshan 🎬
Final Mix by M. R. Rajakrishnan 🎚️
Voice Over recorded at Resonance Audio 🎙️

For the sound design, we captured genuine KSRTC bus sounds directly from the set, carefully recording the mechanical textures and movements. My foley team then performed and layered additional elements to recreate the authentic feel of the bus in motion — from subtle body movements to interior details — bringing realism and life to the final track. 🎧

LINK:

The Challenge: Balancing “Hyper-Realism” with a “Utopian Sci-Fi” aesthetic.

The Sonic Breakdown:

🏹 The Bow: I layered organic rope-stretch textures (for that familiar, tactile tension) with subtle sci-fi glitches to ground the tech in a futuristic reality.

🧺 The Quiver: Managed the “metallic rattle” of the arrow basket to ensure it felt heavy and detailed without being piercing or fatiguing to the listener.

🥋 The Foley: Exaggerated the thick cape movements and wooden rooftop footsteps to give the protagonist a sense of weight and presence.

📱 The “Hero” Shot: My favorite part? The final arrow flight. I designed it to travel in Mono, expanding into a wide Stereo image as it approaches, ending with a localized “phone smash” mixed with mild electric glitches.

  • Audio Mixer
  • Sound Designer
  • Sound Editor

Work experience

Sound Designer / Re-Recording Mixer · El Dorado (Advertisement)Jan 2024 – Present · 2 yrs 11 mos

Sound effects editing, Foley, and re-recording/mixing for advertisement; surround mix; delivered to YouTube LUFS targets (~-16 LUFS).

VFX Sound Editor / Sound Designer · The Spaceship (Project)Jan 2024 – Present · 2 yrs 11 mos

Sound design and re-recording/mixing for a VFX project; created surround sound mix; ADR and integration for YouTube streaming; built audio libraries.

Sound Designer / Re-Recording Mixer · Bournemouth UniversityJan 2023 – Present · 3 yrs 11 mos

Responsible for sound design, Foley and re-recording/mixing; managed Foley sessions and audio editing for film projects; created personalized sound-effect libraries; collaborated with Foley editors and sound effects editors; ADR for film; delivered stereo and surround (5.1/7.1/Atmos) mixes; built libraries; maintained schedules and budgets.

Education· 5

MASTERS IN SOUND DESIGN FOR FILM AND SCREEN · BOURNEMOUTH UNIVERSITY2023 – 2024
DIPLOMA IN MUSIC LITERACY · LONDON COLLEGE OF MUSIC2022
BSc (Hons) Forensic Sciences · Bournemouth University2017 – 2020
Diploma in Music Literacy (Dip Mus LCM) · London College of Music, University of West London (UWL)2020 – 2021

Certifications and awards

DOLBY ATMOS ESSENTIALS2024

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