Throughout the 25 cues I was in charge of preparing for The Swedish Torpedo’s recording session, I was working as Ruben De Gheselle’s orchestration assistant. As such, my work was aimed towards cleaning and preparing the scores for the orchestration part of the process by transferring the MIDI data from the composer’s Pro Tools sessions and putting them into Sibelius. After preparing all the tracks and making sure the ensembles’ coherence was always at the top priority, I then took the role of preparing the Pro Tools sessions for the day of the recording. Synchronizing and putting in place the Sibelius score, film sequence and track template was my responsibility in order to assure a clean and efficient workflow during the recording session.

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Throughout the 25 cues I was in charge of preparing for The Swedish Torpedo’s recording session, I was working as Ruben De Gheselle’s orchestration assistant. As such, my work was aimed towards cleaning and preparing the scores for the orchestration part of the process by transferring the MIDI data from the composer’s Pro Tools sessions and putting them into Sibelius. After preparing all the tracks and making sure the ensembles’ coherence was always at the top priority, I then took the role of preparing the Pro Tools sessions for the day of the recording. Synchronizing and putting in place the Sibelius score, film sequence and track template was my responsibility in order to assure a clean and efficient workflow during the recording session.

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There Was, There Was Not is a documentary film on which Ruben De Gheselle composed the soundtrack. As his orchestrator, my work was to extract the MIDI data from his Logic Pro X sessions and put the music into Sibelius. My role was centred around optimizing the overdub parts to be efficient and natural for the musicians during the recording session but also creating easily readable and well organized scores and parts as to make the recording session orderly and coherent. After the score work, I also prepared the Pro Tools sessions so that everything was ready for the day of the recording. I created the track templates with the film and Sibelius score synchronization as to make an efficient workflow. I worked on 8 cues for this film.

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In order to prepare the recording of the original soundtrack for the film Celui Qui Soigne - MUGANGA, I worked as Ruben De Gheselle’s assistant for orchestration purposes. As such, I was in charge of cleaning up the MIDI data in the Logic Pro X sessions sent by the composer and properly placing the music onto the Sibelius score, establishing a proper framework and environment for Ruben to then work the orchestration into. For this film, I worked on 12 cues.

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As the composer and sound designer for Between Places, I was in charge of creating an experimental and electroacoustic soundtrack using SuperCollider’s coding framework as a tool for creation. As such, I achieved great results through rigorous communication and efficient workflow with the director as to really put in music what the essence of the film and the images was. As such, the short film’s experimental and algorithmic music is flowing nicely into the scenes, creating an efficient and natural dialogue between the images and the sound. I did a great amount of experimental work, research and development to create original code which conveyed the desired musical behaviours. The film was selected and broadcasted at the EMAF festival in Germany.

On the film One With The Whale, I worked as an orchestration assistant to orchestrator Ruben De Gheselle. My role was to take possession of the Logic Pro X sessions and extract the MIDI data from them. I then put these data in Sibelius and worked the music into a clean and efficient score. As such, on the 8 cues I worked on, I made sure that everything was in place and properly implemented for the orchestrator to grab the Sibelius sessions and create the orchestration in a clean and well structured environment.

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Ma Tendre Moitié is a comedy and romance film directed by Jessy Monbleau-Lefebvre. As the composer and music producer for the original soundtrack of this short film, my mission was to create a music track that would perfectly support the images and concept of the film. As such, I carefully crafted a score that was tailored not only for the aesthetic of the film, but also for the characters and the dialogues. The film is recalling the colours and feelings of the golden era of Hollywood, situated in the 1950’s. For that, I used an orchestration and composition technique that married both jazz big band and symphonic film music of the era. The music is tailored to weave itself around the dialogues without ever disturbing or taking over them while exposing memorable melodies and themes. The final audio was created using professional sound banks and mixing techniques using older tube equipment simulations in order to create the warmth, decay and coloration of the 1950’s in the sound while keeping the clarity of the music. As such, the soundtrack of this short film creates a perfectly balanced dialogue with the image while propelling the story and narrative forward as a supportive device to the scenario. The film was nominated at the Digital Griffix Film Awards in the categories “Best Original Score” and “Best Independaet Film” and won the award of the category “Best Comedy”.

For Astral Hues, I produced 428 audio assets using Soundly and custom-made sound recordings. In addition to this work in sound design, I composed 17 original music pieces for the game. 8 of these pieces were composed in a more classical style with strings, world percussions, piano, harp and celesta while the rest was composed using atmospheric synthesizers to capture the ethereal aesthetic of the game. Along with the music and sound design, I was also in charge of the whole Wwise integration and Unreal Engine 4 Blueprint programming for the sound engine in order to implement the proper behaviours inside the game engine. With that, I also established an efficient production pipeline optimized to the game’s scope and format.

When I took the decision to collaborate with this team for their student game project, I took the role of the music composer for the game. Through an efficient communication and a common passion for the game, I was able to encapsulate Gloop’s personality and the challenges it faced through the game. The most rewarding and magical moment of a video game is to see the music bring the life of the game together and make the character’s personality pop out. A goal that I believe I have achieved greatly with this game.

https://miguelcpereira.itch.io/gloop

As a film without dialogue, The Collector required continuous music through the whole short film. As such, I created a soundtrack that was suited to the various emotions and inner thoughts expressed by the character. From a curious creature rummaging through trash to a sad and lonely ending, I was able to create a proper soundtrack that supported not only the image, but also the emotional concepts carried through the film.

In this project, I was able to collaborate with the team to create some music along with three other composers. We were in charge of making sensitive and powerful music to fit the animated images provided along with working together to produce a proper soundtrack as a team for the short film.

Augustine is a horror animated short film created by graduating students at Université de Québec en Abitibi-Témiscamingue (UQAT). As the sole audio designer, I worked on all aspects of the audio from sound design to music and delivered a well tailored product that matched in a creative way the visions of the directors. This short film was featured and premiered at the 40th Festival de Cinéma International d’Abitibi-Témiscamingue Rouyn-Noranda Festival. It was also featured at the Rendez-Vous Québec Cinéma movie festival in 2022.

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