Showreel / 7 moments, 68s
Audio Post Production / Dubai
Sound designer, mixer and music producer for film, branded stories and podcasts. Best on headphones. Press any frame to play it, and nothing loads until you do.
Hear the work ↓Featured work
One project in full
Featured case study
A twenty minute action short. A mother on the run, a truth that could end everything, and a soundtrack that had to carry all of it. I wrote the score, built the effects and mixed the whole thing in post.
Selected work
Film / advertising / podcast
Ten episodes of food television shot in real kitchens, markets and back street eateries around Dubai. None of it was quiet and none of it could be made quiet. I recorded production sound on nine of the ten. The trailer here is OSN’s own cut.
A campaign film that moves between a white laboratory and the rooms a heritage actually lives in. A majlis, a falcon, a horse in the dark. I recorded the voiceover at MNK Studios in Dubai, built every effect around it, then finished the mix and master. Two very different worlds that had to sound like one place.
A watch film cut between architecture and a voice. The music came supplied, so my job was to sit it under the narration, close enough to carry the film and never fighting the voice. Then the effects, the vocal cleanup, the mix and the master.
The picture was locked before a note of music existed, so the track was written to an edit that was never going to move. Every hit had to land on a cut that was already there. After the music came the effects, then the mix and the master.
Cars under coloured light in a blacked out studio, cut fast. There was no engine audio to lean on, so the weight had to come from the design, and it had to sit low enough that the picture still owned the room.
A tenth anniversary film for a fine jewellery house, shot through mashrabiya light. I wrote the score, built the effects and mixed it. Most of the work was deciding how little to put in. At that pace the silence does most of the talking.
Vertical, shot on location, and carried the whole way by one voice talking to camera. I recorded the sound on set and cleaned the dialogue in post. On a piece like this you should never need the captions.
Same series, a different room and a different voice. Recorded on set, cleaned in post, and cut for a feed where most people will meet it with the sound off. The ones who turn it up get a clean voice.
Her house, walked room by room. That means one voice recorded in a dozen different acoustics, marble, glass, wood, a stairwell, and cut together so it feels like one conversation. I recorded on location, then cleaned, mixed and mastered.
An interview series recorded in the room, which is where a podcast is won or lost. Several voices, several microphones, one shared space and no second take. I engineered the session, then cleaned the vocals, mixed and mastered. This episode is Talent vs Loyalty, twenty six minutes of it.
Forty five seconds of animation explaining how to get a caravan permit for the beach. A laptop on the sand, forms flying into folders, a wave that wipes the frame. Animation arrives silent, so every click, pop and swoosh was made from scratch, then the music, the mix and the master. A student project from my time at college.
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I have been working with sound since I was fifteen, first as the hobby that took every spare hour, then as a profession from the day I graduated from SAE Institute Dubai, where I am still based. The degree gave the listening a method; the years since have given it mileage.
The work since then has covered most of what a film or a series asks of sound: production sound on set, dialogue cleaned until it sits inside the picture, effects built for frames that arrived silent, music written to a cut that was already locked, and the mix and master that finish it. Commercials, documentary, editorial, a web series, podcasts. Each one taught something the last one could not.
Directors usually get me at the locked cut, which is where I prefer to start. The first conversation is about what a scene should make someone feel rather than what it should sound like. The cut tells me where and the director tells me why, and the tools are whatever the project already lives in, since I work across every major DAW. Alongside the post work I write and produce music of my own, which is why score, sound design, mix and master are one ear here rather than four.
Sound is the half of a film nobody praises and everybody notices. When it is wrong, the audience does not say the mix was wrong. They say the scene did not work. I would rather they said nothing.
SAE Institute DubaiBachelor of AudioThree year degree, graduated 2024
The signal chain, first note to final file
01Write
Music to picture
02Build
Every sound in the frame
Production sound rescue, denoise, ADR
03Finish
Balance and delivery
04Spoken word
A path of its own
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