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 Senior Foley Artist position. 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  





2020 REEL



An action-heavy film like this requires a lot of low-end hits, and impacts to fully engage the audience. To accomplish this we used a mixture of Contact and Lav Mics strategically placed close to where we were performing.


Director: Davi Pena


This was a film that I initially pitched to my friend as a commercial for the new clothing line he was about to launch. The idea of the film was to create a line of products that represent the sound that you make when you crash, otherwise known as onomatopoeias.

To capture the sound of a skate board we brought the board used from the shoot as well as my personal longboard (for variation) and did our best to match cuts with board in hand. For this shoot all of the audio was redone in post. No audio from production was kept, meaning Foley had to have a heavy presence in order to fill the entire film.



A crowd Funded Fan Film, that was shot in the Savannah area and at Tybee Island. I was on a team with two other Foley Artists. Since we were trying to replicate the feel of the Star Wars Universe we stayed true to the Sky Walker Studios approach to Foley. To record the sound we used a U87, instead of the industry standard 416 Shotgun microphone.

This Film also went on to win 2 Student Emmy Awards. One being for Sound Design.


Director: Mark Alex Voght

Sound Supervisor: Ryan Sullivan




Racing The Sunset is a two time award winning animation. I had the honor of being the sound Supervisor for the project. The Director Nikolas Smith had talked to me in advance about giving the animation a comic book style feel. To do this I created my own “Woosh” library.

I also made sure every action scene veered more on the side of realism to help audiences feel the urgency of the situation. ROLES: Sound Supervisor, Foley Artist, VO Recordist, SFX EditorDirector: Nikolas Smith




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: 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.


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)



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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