I am a multi-award-winning Film Composer. I would be delighted to talk with you about bringing life into your production with music.
Portfolio
my Discography contains my personal compositions
which contain more of my range & style
2019 – Out Of The Box
Animated short with a brief of an electronic score with elements of Chiptune and ’80s feel. I composed three main parts; intro, body & end credits.
Very seldom do creatives come together and not butt heads at least once when sharing and collaborating on a project they are both passionate about. Benedict has been one of the most patient, skilled and professional individuals I’ve come in contact with. Not only did he take time in understanding my concept, but was also extremely patient and communicative with the entire project, meeting every deadline and being open to constructive criticism. I’ve learned a ton working with him, and would recommend anyone at any point in their career to collaborate and be open with their ideas. Thank you so much, Benedict!
Malachi James Moore – Prophet Productions
2010 – Unrepentant
“Best Music Score” WildSound 2011, “Distinctive Achievement in Sound Design” Wild Rose Independent Film Festival 2010.
An interesting story well played by an actor who had a string of credits from stalwart Aussie shows like “Cop Shop”.
I actually had the main themes laid out from the script alone, before I even saw an edit.
I was really delighted to get the Best Music Score award as this was confirmation that I had done the right job for the film.
2000 – Short Films – these were both first films from the Directors. Basil (27th) ran an advert and was very nice to work with. Alan (The Extra-ordinaries of Food) I didn’t meet as the whole thing was set up by the First Film people who saw my work on 27th. Both were fun projects.
2020 – Deadalus In Danger – Star Trek fan film
Jane & I made this neat little animated film based on the Star Trek universe. I scored it over a few afternoons using only the Spitfire BBC SO Discovery which was kindly supplied to me for giving some survey info. The sound effects are synths.
In the middle of the project, Jane also made a joke animation based on those memes about taking out the bin during COVID-19 lockdown which I also scored (using The Orchestra in that case)
2020 – Egg Head Ted
What would life be like if your nature was that of being an egg. Would you be able to escape the inevitable or would it occur with alarming regularity, no matter what you did? I added all the Music & Sound including the voices. More Egg Head Ted…
2019 – Le B-Boy
This was for a community event. We were only allowed to use instruments from Spitfire Audio and I only have a few scraps (instead of whole packs) that didn’t immediately suggest a workable score. But the animation from Kate Isobel Scott was so tempting. It took about half a day and I am proud of it.
2019 – S.P.A.C.E. Force
My first official credit as a Game Composer. The game is called “S.P.A.C.E. Force” by Aesc. The player has to save the kittens from the evil foxes (all in spaceships of course). I wrote all the music & sounds. It was part of a Game Jam so everything was done in a few days. We came #1 with close to 5/5 scores.
I know Benedict as we are both members of the Discord server Skirmish.io. After I wrote a post seeking team members for a game jam he swiftly accepted. We discussed music for the game for a bit and after a few days it was already done. This music was higher quality than anything I could have produced, and was done so quickly it allowed us (the programmers) to implement many more features. At this point Benedict stepped up offering to do the sounds too! Working with him has been excellent, his communication could not be more clear. He was able to shape my music-noob speak into amazing music and sounds. This was a great experience and I would happily work with him again.
Aesc
2020 – Puzzle Tiles
After S.P.A.C.E. Force, Aesc asked me to score for his addictive Puzzle Tiles game. He sent over a pre-release version. I spent a bit of time getting a feel and set straight to putting that feel into music. The idea was that the the track sits in the background and feels calm whilst you puzzle away.
2020 Dungeon Brawler
Third game with Aesc, Dungeon Brawler. The Brief was to compose a discrete piece for each scene (and menu). This Trailer is the Volcano (Hell) scene. The other scenes are Sand & Sea. I also created an environment backing for each scene to help deepen the sense of the space you were in.
Benedict def hit it out of the park on this one, music is so good
Aesc about Dungeon Brawler Soundtrack
2020 – Crystal Hopper
2021 Feather and the Crocodile Curse
My 9 y.o. wanted to make a film using her Animal Jam characters. She needed help. Being me I stepped in and made sure it was well done. I also couldn’t let it go out with free library sound so I made every sound you hear in here using Reason Studios Europa synth. I took two passes, first for sound effects and character ‘voices’, rendered that all to audio then the second pass composed the music. I deliberately kept it pretty simple with repeating themes. The most complex part is the EBM/Industrial section in The Bug’s Factory. It is probably the only Animal Jam video with EBM in the score!
Competition Pandemic
The COVID-19 Pandemic brought a rush of competitions. Seeing most real work had stopped, it was a way to spread out a bit. It was generally fun. No expectations of any win as often it is very clear they want something I don’t do.
A scene crammed with action and “moments” is both a joy and a challenge to score. Especially when some of the Foley is already pitched sounds. I deliberately wanted to avoid the whole overdone Action Strings cliche and looked to blend in whilst bringing a bit of mystery.
I deliberately did this one completely different from the usual expectations. There are no harpsichords or chamber orchestras. It is minimal electronic and focuses instead on playing to the emotions in the scenes.
I have never watched the show so I had no preconceived ideas. I assume the original is all pulsing strings & blamming percussion I didn’t do it that way. Except for one LABS String sample, it is all pure synthesis for a deliberately hammy 80s feel.
It is hard to get film of this quality to work against so I grabbed the chance. I own Sonuscore “The Orchestra” but had to imagine what I might want Elysion to sound like. For the curious, I used Thor, Europa & Parsec for the second part.
Hire me for your Project
If interested in working with me, please move to the Project Form to let me have all the information that I need to understand your project. Please show an edit of the film – preferably without temp track – so we can start a conversation.
These are samples of the sorts of styles I can cover.
All very dramatic: elves, dinosaurs, men in Lycra power suits, and CGI’d New Zealand scenery kinda stuff. Mostly Orchestral sounds with a few synths.
An army of supportive Fae folk assembles outside the castle to protect the dying Good King who is being usurped by his ever-so-evil 75th cousin 38 times removed.
Ambient styles form a large part of my approach to music. In movies I often combine music and some Foley sound design aspects. I can also include Binaural Beats if needed.
This piece starts in a pretty hard-core 1980 Arcade chip space, taking all the limits of the Z80 chip into account. Each section softens that a bit with the advances of technology.