Take a look at a page specifically designed for you! I have gone through and compiled some of my best work that relates to the Sound Designer position at Oculus. Only those with this specific link can view this page. Once you’re done, feel free to look around, or reach out to me. At the following points of contact.

cbpbumeter@gmail.com   –    678-650-1555  



Position: Sound Supervisor

This film follows the perspective of one person as he navigates the troubles of life from birth, to his parent’s divorce, to marriage, then finally to have a son and the cycle starts again. Upon hearing this pitch the director mentioned that the entire film would be shot in a Point of View perspective to fully immerse the audience in the space of our main character James.

To match the first-person perspective we used binaural audio to coincide with James’s point of view. We did this by utilizing a Sennheiser AMBEO VR microphone on set. In post we then broke these files down to Binaural using the plugin Sound Field by Rode. To add additional effects I used the Facebook 360 Spatialization Plugins combined with reaper to help keep the space active and alive. These tools helped me up-mix mono sound effects with ease by giving me the tools to pan the effects around the listener while I watched the film.

Position: Sound Supervisor


This project was a collaboration with a group of Motion Media Students. Primarily my work included editing in sound effects and mixing the end product together.

To nail down timing and I used Pitch n’ Time as my primary plug in. This allowed me to create warped effects without creating any audio artifacts.

Director: Jayson Hahn.


Position: Sound/Music Editor

This was a side project I did for a friend in exchange for having my logo animated. The goal was to engage the audience through sound and music. I wanted to create numerous “wow” moments that matched the stunning visuals provided by Jayson.

The song called Still Feel by Half Alive and features a simple drum track with funky bass and lyrics. To fit the length of the Reel numerous cuts had to be made to bring the 4-minute song down to 1 minute.

Director: Jayson Hahn.

Position: Director/Sound Designer


This a current project that is in development. It is a podcast that delivers stories with immersive Binaural Audio. Each episode explores a dream and recreates it from a first-person perspective.

For this project I used a plugin called Dear VR Pro. Similar to the Facebook 360 Audio plugin, Dear VR Pro allows me to manipulate the placement of the effects I am editing with. I can create realistic spatialized ambiences, effects, and Foley.



Position: Sound Lead

This project was in collaboration with SCAD Pro and Fox Sports for the Men’s Fifa World Cup in 2022. I was part of a team of 12 students who were prompted by SCAD to create a 360 studio environment using Unreal Engine. Our Design Challenge was to create a “home” for the Fifa Men’s World Cup coverage that exudes the personality of modern Qatar while projecting to an American Audience an instant connection to the host country.

My role in the project was Sound Lead. I was in charge of implementing the project’s audio through Wwise and Unreal.


Position: Asset Provider

A two-player virtual reality puzzle game that tests your problem-solving and communication skills in a high stake sinking submarine. One player is given the manual for how to keep you afloat, while the other player is submerged in the depths of the ocean. My role in this project was to provide several sound assets as well as music for the team to use. 

The score is a piece I repurposed from a previous project called When The Rain Comes. This piece takes advantage of the midi plugin called Xpand 2 in combination with some Kontakt library instruments.

(Director Oscar Painvin)

Position: Director


Created using VCV Rack H.G. Wells primarily takes advantage of the Station Module. Each station tunes the listener into a different point in time revealing key story elements along the way. Only once the listener has listened to each station all the way through they can finally obtain the full non-linear story. 

Wallace and his apprentice Clark create a machine that can transmit recordings from the past and future. The only catch is, they can only access the machine’s records when their satellite is directly above in orbit.

The original score was also created in in VCV rack. I utilize the notes of a Dm 7 chord on a reversed bass guitar in random order.


Ice cove is a personal project I did to help hone in my skills. The characters and world were all brought from the Unreal Market place and integrated into one project. All of the sound and music cues were created using Wwise.

My main focus in this project was to create an immersive battle experience. Using a blend container in Wwise I created a music cue for when the monster notices the character, and when the character approaches the rock at the end. The monster and the hero both have their own battle, and footstep sounds, each linked to the appropriate animation in Unreal.


Soul Cave is a personal project I did to help hone in my skills. The characters and world were all brought from the Unreal Market place and integrated into one project. All of the sound and music cues were created using Wwise.

My main focus for this project was to create an immersive space in the game using ambiances and musical cues. There is a variety of waterfall cues, depending on the size of the waterfall. An RTPC was created that monitored the player’s location to the statue in the center of the cave. As the player approached he would first hear an “ooh” choir that I created using Xpand. Then as he gets even closer we are introduced to the female choir singing a Gregorian Chant and then the male choir joins in and they sing in unison together. Each of the tubes of light throughout the level was also assigned a note value from a D minor chord (D, F, or A).


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