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Signed in as:
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Willow
I have worked as the Sound Designer & Sound Department Lead at Rookery Interactive, a "proudly disabled, queer and women-owned" independent video game developer. My responsibilities ranged from recording/sourcing foley, designing the sounds and ambience of our game, to working with Natalie Puff (game composer) on song development and with game programming to implement any audio into the game engine. I also contributed to & craft the sound of a number of our marketing materials. More of my work within the game will be showcased below very shortly, so keep an eye out.

I have professionally collaborated many times with stop-motion animator Charlie Rose. In addition to his Youtube channel (which has around 150k subscribers), Charlie has worked as an animator for the 11th season of Robot Chicken, as well as on music videos for bands such as I Fight Dragons.
If you are interested in working with me as well, reach out to me via this website.
I look forward to hearing from you!
After foley work was already completed, Charlie brought me on in order to spatially mix the audio levels as well as bring it to a more professional quality. As you can see from the audio in this video and the one beside, he greatly prefers very gain heavy, crunchy sound. In my work, I came to a middle ground that attempts to satisfy both the audience's ear and the aural creative vision.
This video features the greatest amount of collaboration yet, as Charlie and I both had a hand in the foley work as well as the mixing. Similar to Banished Prototype, Charlie's love of crunchy effects at the forefront comes through, but perhaps even more so due to our dual participation in both the mixing and foley.
I contributed to foley work on Charlie's Award-Winning Original Short Film The Sky Below. The main scope of my contribution was of footstep and movement audio, which I mixed. Very proud to have had a small role in the making of this piece.
Below is a more recent spinoff/spiritual sequel to The Sky Below, which I collaborated once again on, but to a greater extent. Foley duty was once again split on this one, and an additional focus of my mixing was placement within space and the balance of the harsh intended sound design vs. the health of speakers/the ears of the audience, which involved significant compression.
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