Audio 2006-2018
Swept Away
When I didn't have a hand in the visual or programmatic development of every project, I was very often in charge of sound development. For this in-house short, I was able to pursue more classical methods of sound design, including a good deal of Foley recording, as well as having the opportunity to direct the VO talent.
RCOM
Part of a proof-of-concept as a possible new IP with Hasbro. Includes a good deal of highly digitally-altered stock sounds. The insectoid-robot is a mixture of several different animal sounds, a good deal of distortion, pitch-bending, and mixing. There's a tiny bit of Foley dotted throughout the animation as well, but the majority is digital manipulation.
Clank
When laying sound for a completely in-house animation, I had a bit more freedom in sound-library selection. Clank was a short animation that was made as a showcase of our 3D and compositing abilities. As an exercise for the visual teams, I felt sourcing some more professionally produced SFX was acceptable. Most is still heavily altered stock and original audio, but there are a few production assets in there as well.