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.

Shreya S. Bhat

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.

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. 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.

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Experience Level

Expert
Expert
Intermediate
Intermediate
Intermediate

Language

English
Fluent
Tamil
Advanced
Malayalam
Intermediate
Telugu
Beginner
Kannada
Beginner
Hindi
Intermediate

Work Experience

Sound Designer / Re-Recording Mixer at Bournemouth University
January 1, 2023 - Present
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.
VFX Sound Editor / Sound Designer at The Spaceship (Project)
January 1, 2024 - Present
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 at El Dorado (Advertisement)
January 1, 2024 - Present
Sound effects editing, Foley, and re-recording/mixing for advertisement; surround mix; delivered to YouTube LUFS targets (~-16 LUFS).

Education

MASTERS IN SOUND DESIGN FOR FILM AND SCREEN at BOURNEMOUTH UNIVERSITY
September 23, 2023 - September 23, 2024
DIPLOMA IN MUSIC LITERACY at LONDON COLLEGE OF MUSIC
April 8, 2022 - May 22, 2022
BSc (Hons) Forensic Sciences at Bournemouth University
January 1, 2017 - December 31, 2020
Diploma in Music Literacy (Dip Mus LCM) at London College of Music, University of West London (UWL)
January 1, 2020 - December 31, 2021
Forensic Sciences at Amity Institute of Forensic Sciences, Amity University
January 1, 2023 - December 31, 2024

Qualifications

DOLBY ATMOS ESSENTIALS
July 10, 2024 - July 26, 2024

Industry Experience

Media & Entertainment, Education
    paper RAKKASAPURADHOL TRAILER SOUND EFFECTS

    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. 🎬🎧

    paper KSRTC ADVERTISEMENT FOR KERALA GOVERNMENT

    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. 🎧

    paper KSRTC ADVERTISEMENT FOR KERALA GOVERNMENT

    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. 🎧

    paper ANIMATION SOUND REDESIGN

    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.