Category: Collaborating

During the final screening, I was able to experience the project in a theatre environment for the first time. This became a very important experience for me because many sound details that worked well on headphones or studio monitors changed significantly once they were played in a larger space. Before the final export, I had…

In the post-production stage of the film, we began to discuss the relationship between music and the rhythm of the picture more intensively. Because the overall atmosphere of the film is slow and abstract, the “personality switch” paragraph has gradually become the most critical rhythm turning point in the whole film. After the partner watched…

After the film entered the second stage of production, I began to pay more attention to the structural changes within the music, not just the atmosphere itself. Because the whole film lacks traditional linear narrative, music needs to assume a certain degree of “structural guidance” function, so that the audience can perceive the changes in…

At the beginning of the project, the collaborators provided me with several important music references, including Olson of Boards of Canada, Thomas Newman’s Up the Down Trench, and the theme music of 2001: A Space Odyssey. These references help me understand more clearly the overall atmosphere and sound direction that the film hopes to establish.…

This project is an experimental fictional image project completed in cooperation with Central Saint Martins (CSM) students. The visual and conceptual content of the film is mainly completed by the other team, and my main responsibility in this cooperation is sound and music design. The project revolves around themes such as “existence”, “assumption”, “death” and…

In this unit, I participated in two different interdisciplinary cooperation projects. The first project is an animation project completed in cooperation with professional animation creators, in which I am mainly responsible for sound design and the construction of sound narrative structure. The project explores memory, family space and emotional perception through realistic SFX, spatial atmosphere…

Through this project, my understanding of sound as a medium has become clearer. Sound is not only a functional or supporting element, but can also play a deeper role in building narrative structure and influencing how the audience perceives time, space, and emotion. During the process, I realised that sound design is not just a…

In this animation project, my sound design is primarily built on realistic sound materials, including field recordings, Foley, and room tone. However, these sounds are not used to reproduce a realistic domestic environment. Instead, they are reorganised into a structured sound system that operates through emotional and psychological logic. Rather than designing sound effects as…

In this animation project, the elevator functions as the core structural element that runs throughout the narrative. Rather than treating it as a physical space, I understand it as a “vehicle for the movement of time.” Therefore, in my sound design approach, I chose to work primarily with relatively realistic sound materials while constructing a…

This animation project is an interdisciplinary collaboration in which I am responsible for the sound design component. The work explores autobiographical memory through spatial storytelling, focusing on how repeated relocation and unstable domestic environments shape emotional attachment. The central concept of the animation is based on my personal experience of frequently moving between different homes.…