Fifteen years after the 2011 tsunami, taxi drivers in the Japanese port town of Kamaishi began picking up passengers who didn’t exist. Using rigged cameras, the taxi is transformed into a moving confession booth. Over the course of one night, a series of conversations between drivers and their passengers reveal how those who survived live with the dead.
Between silence and conversation, myth and memory, Ghost Town inhabits a liminal space between documentary and dream. It reveals a community suspended between the visible and invisible - a portrait of life lived alongside its ghosts.
Premiered in competition at Visions Du Réel 2026
Acquired by Dartmouth Films
Sound Designer’s Note:
Katharine created space for sound design within the cut and conept of Ghost Town and we were able to build a soundscape derived from themaic threads. The uncanny presense of Kamashi’s deer, the haunting presense of payphones, the warped memories of the trauma of the tsunami and the choregraphy taxi interiors. The mix of the film balances the intimate confessions of the contributors while also evoking the memories of Kamashi’s formative disaster and bringing to life the spirtual and ghostly experiences of the inhabitants.
A Notable Sound:
Early in the sound design of Ghost Town I recorded a series of corregated metal sounds to embelish the sound of strong wind buffeting against the large warehouses. Later in the film the same recordings were manipulated to create abstract atmospheric elements that felt evocative of this sparse ghost town.
Press & Reviews:
“an inspired exploration of the myriad ways humans process loss and grief…a haunting cinematic confessional on wheels.” - Slant Magazine (three to watch at Visions du Réel)
“a cinematic séance unfolding on the margins of reality” - Screen Anarchy
"intimate... lyrical” - Business Doc Europe
★★★★ “this poetic elegy... beautifully examined” - International Cinephile Society
★★★★ ‘With their heads resting on the delicate lace of Japanese taxis, people confide in each other about anything and everything...” - Le Polyester
Between silence and conversation, myth and memory, Ghost Town inhabits a liminal space between documentary and dream. It reveals a community suspended between the visible and invisible - a portrait of life lived alongside its ghosts.
Premiered in competition at Visions Du Réel 2026
Acquired by Dartmouth Films
Sound Designer’s Note:
Katharine created space for sound design within the cut and conept of Ghost Town and we were able to build a soundscape derived from themaic threads. The uncanny presense of Kamashi’s deer, the haunting presense of payphones, the warped memories of the trauma of the tsunami and the choregraphy taxi interiors. The mix of the film balances the intimate confessions of the contributors while also evoking the memories of Kamashi’s formative disaster and bringing to life the spirtual and ghostly experiences of the inhabitants.
A Notable Sound:
Early in the sound design of Ghost Town I recorded a series of corregated metal sounds to embelish the sound of strong wind buffeting against the large warehouses. Later in the film the same recordings were manipulated to create abstract atmospheric elements that felt evocative of this sparse ghost town.
Press & Reviews:
“an inspired exploration of the myriad ways humans process loss and grief…a haunting cinematic confessional on wheels.” - Slant Magazine (three to watch at Visions du Réel)
“a cinematic séance unfolding on the margins of reality” - Screen Anarchy
"intimate... lyrical” - Business Doc Europe
★★★★ “this poetic elegy... beautifully examined” - International Cinephile Society
★★★★ ‘With their heads resting on the delicate lace of Japanese taxis, people confide in each other about anything and everything...” - Le Polyester
Crab Day
Animation, Short, 2023
Dir. Ross Stringer
Role: Supervising Sound Editor & Dubbing Mixer
5.1 Mix
Interview with Royal Television Society
Director’s Notes Article
Animation, Short, 2023
Dir. Ross Stringer
Role: Supervising Sound Editor & Dubbing Mixer
5.1 Mix
Interview with Royal Television Society
Director’s Notes Article
As part of a fishing community’s annual ritual, a young boy must kill his first crab in order to become a man and gain his father’s approval.
BAFTA - Best British Short Animation 2024
RTS - Best Post Graduate Animation Film 2024
RTS - Best Post Graduate Sound Design 2024
London Animation Festival - Audience Award 2024
Anibar Audience Award 2023
Official Selection London Internation Animation Festival 2023
Official Selection Flipbook Film Festival 2023
Official Selection (International Competition) Cinanima 2023
Official Selection Linoleium 2022
A Notable Sound:
One of my favourite details in the sound design of Crab Day is the blinking. This was created by inverting the output of software specalising in removing clicky mouth sounds in dialogue.
By recording myself, close mic’d, speaking according to the emotion of the character, and used the inverted output to remove everything but the mouth clicks. Despite the abstraction there is something of the tone/feeling of the speaking that carries over, and communicates the emotion of the boy and the man.
BAFTA - Best British Short Animation 2024
RTS - Best Post Graduate Animation Film 2024
RTS - Best Post Graduate Sound Design 2024
London Animation Festival - Audience Award 2024
Anibar Audience Award 2023
Official Selection London Internation Animation Festival 2023
Official Selection Flipbook Film Festival 2023
Official Selection (International Competition) Cinanima 2023
Official Selection Linoleium 2022
A Notable Sound:
One of my favourite details in the sound design of Crab Day is the blinking. This was created by inverting the output of software specalising in removing clicky mouth sounds in dialogue.
By recording myself, close mic’d, speaking according to the emotion of the character, and used the inverted output to remove everything but the mouth clicks. Despite the abstraction there is something of the tone/feeling of the speaking that carries over, and communicates the emotion of the boy and the man.
Poster Boy
Fiction, Short, 2025
Sound Designer & Re-Recording Mixer
Dir. India Opzoomer
5.1 Mix
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Hollywood Reporter:CAA Sets Lineup for 11th Moebius Film Showcase
Indiewire: 10 Must-See AFI Fest Movies
Fiction, Short, 2025
Sound Designer & Re-Recording Mixer
Dir. India Opzoomer
5.1 Mix
Hollywood Reporter:CAA Sets Lineup for 11th Moebius Film ShowcaseIndiewire: 10 Must-See AFI Fest Movies
In the cutthroat world of '90s boy bands, a desperate 16-year-old dancer betrays his best friend and bandmates in a misguided attempt to secure his spot in the limelight, only to discover the true cost of fame.
World Premiere: Toronto International Film Festival Official Selection 2025
UK Premiere: Encounters Film Festival Offical Selection 2026
Nantucket Film Festival Official Selection 2026
Maryland Film Festival Official Selection 2026
Dallas International Film Festival Official Selection 2026
Santa Barbara International Film Festival Official Selection 2026
Sound Designer’s Note:
India
A key dynamic in the film is between the protagonist’s internal, solipsistic view and the cold reality of the audition process. The balance between the music video feel and the ugly acoustic of the hotel lobby turned audition hall helps to shift the tone of boy band’s performance. This element of the mix was the one we revisited the most to try and find the exact moment to undermine their performance and introduce the stark reality of the audition process.
A Notable Sound:
The foley movements for the boyband’s dances move was an important component to the soundtrack but a difficult one to get right. However one element that I found particularly effective was adding the squeaking shoes. The high frequencies easily cut through the worldised music, and effectively undermined their performance, adding a self-consciousness and further developing the starkness of the audition room.
World Premiere: Toronto International Film Festival Official Selection 2025
UK Premiere: Encounters Film Festival Offical Selection 2026
Nantucket Film Festival Official Selection 2026
Maryland Film Festival Official Selection 2026
Dallas International Film Festival Official Selection 2026
Santa Barbara International Film Festival Official Selection 2026
Sound Designer’s Note:
India
A key dynamic in the film is between the protagonist’s internal, solipsistic view and the cold reality of the audition process. The balance between the music video feel and the ugly acoustic of the hotel lobby turned audition hall helps to shift the tone of boy band’s performance. This element of the mix was the one we revisited the most to try and find the exact moment to undermine their performance and introduce the stark reality of the audition process.
A Notable Sound:
The foley movements for the boyband’s dances move was an important component to the soundtrack but a difficult one to get right. However one element that I found particularly effective was adding the squeaking shoes. The high frequencies easily cut through the worldised music, and effectively undermined their performance, adding a self-consciousness and further developing the starkness of the audition room.
Dive (2023)
Fiction, Short, 2023
Dir. Will Peppercorn
Role: Sound Designer
Dolby Atmos & 5.1 Mix
NFTS Article
Fiction, Short, 2023
Dir. Will Peppercorn
Role: Sound Designer
Dolby Atmos & 5.1 Mix
NFTS Article
Paul, an experienced deep sea 'saturation' diver, returns to the rigs following a personal tragedy.
A technically demanding film that is able to rely on the sound design to bring the saturation tank set build to life. Creating a sense of mounting pressure, physically and mentally, while attentively emboldening the protagonists conflict.
A technically demanding film that is able to rely on the sound design to bring the saturation tank set build to life. Creating a sense of mounting pressure, physically and mentally, while attentively emboldening the protagonists conflict.
Rise
Ficiton, Short, 2025
Sound Designer, Re-Recording Mixer & Field Recordist
Dir. Jessica J Rowlands
5.1 Mix
https://risezimbabwe.com/
Ficiton, Short, 2025
Sound Designer, Re-Recording Mixer & Field Recordist
Dir. Jessica J Rowlands
5.1 Mix
https://risezimbabwe.com/
A charismatic young boy who lives on a rubbish dump in Zimbabwe must convince a reclusive boxing coach to teach him to fight in order to find safety and strength in a world that has left him behind.
“I’ve seen this incredible short film from Zimbabwe, and it moved me to my core... with unforgettable performances and stunning humanity. Stories like this deserve to be soon”
Viola Davies, Academy Award Winner & EGOT on Rise
Tribeca Festival (World Premiere) — Narrative Short Category
Indy Shorts International Film Festival: Winner – Shine Global Children's Resilience Short Film Award
HollyShorts Film Festival — Social Impact / Narrative Short Category
San Diego International Film Festival: Winner – Audience Choice Short Award
Savannah Film Festival (SCAD) — Professional Shorts Category
Lady Filmmakers Film Festival (Beverly Hills) — Official Selection
British Urban Film Festival (BUFF) — International Short Category
Denver Film Festival — Short Film Selection
Heartland International Film Festival — Special Showcase Screening
Universal Movie Awards — Official Selection
Independent Shorts Awards International Film Festival — Official Selection
Sound Designer’s Note:
I had quite a unique and educational experience working Rise with Jessica. Early in the post production of the film I pre-mixed the dialogue and designed a scene that takes place in a diner between Rise and Coach.
This was prior to travelling to Victoria Falls, Zimbabwe, in order to record ADR and field record.
I returned to London with a hard drive full of ambiences and effects recordings - but most importantly an experience of the sound of the location.
When I later revisited the diner scene, the choices I had made previously made sense, but they were also more generic than the true sound of Zimbabwe. I now had both the recordings and experience to redesign the scene.
It’s an experience that I has helped to develop and consolidate my approach to sound design.
“I’ve seen this incredible short film from Zimbabwe, and it moved me to my core... with unforgettable performances and stunning humanity. Stories like this deserve to be soon”
Viola Davies, Academy Award Winner & EGOT on Rise
Tribeca Festival (World Premiere) — Narrative Short Category
Indy Shorts International Film Festival: Winner – Shine Global Children's Resilience Short Film Award
HollyShorts Film Festival — Social Impact / Narrative Short Category
San Diego International Film Festival: Winner – Audience Choice Short Award
Savannah Film Festival (SCAD) — Professional Shorts Category
Lady Filmmakers Film Festival (Beverly Hills) — Official Selection
British Urban Film Festival (BUFF) — International Short Category
Denver Film Festival — Short Film Selection
Heartland International Film Festival — Special Showcase Screening
Universal Movie Awards — Official Selection
Independent Shorts Awards International Film Festival — Official Selection
Sound Designer’s Note:
I had quite a unique and educational experience working Rise with Jessica. Early in the post production of the film I pre-mixed the dialogue and designed a scene that takes place in a diner between Rise and Coach.
This was prior to travelling to Victoria Falls, Zimbabwe, in order to record ADR and field record.
I returned to London with a hard drive full of ambiences and effects recordings - but most importantly an experience of the sound of the location.
When I later revisited the diner scene, the choices I had made previously made sense, but they were also more generic than the true sound of Zimbabwe. I now had both the recordings and experience to redesign the scene.
It’s an experience that I has helped to develop and consolidate my approach to sound design.
About:
Simon is a sound designer, dubbing mixer and field recordist. His work spans across fiction, documentary, animation, commercials and podcasts. He graduated from the MA in Sound Design for Film at the National Film & Television School in 2023.
Simon’s approach to sound design is always in service of the storytelling. His ambition is to weave his soundtrack into the fabric of every project. As such he is dedicated to field recording during production, collaborating across departments and is keen to experiment with new workflows and techniques.
In 2023 Simon was awarded the MPSE Verne Fields Golden Reel for Outstanding Sound Editing in a Student Film for his design and mix of Dive.
In 2024 Crab Day, which Simon was the Sound Supervisor for, won the BAFTA for the Best British Animated Short as well as the RTS Award for Best Postgraduate Animation, where Simon’s sound design was also recognised for an RTS Craft Award.
He has also sound designed films that have won at the British Animation Awards and been nominated for Young Arrows and Best Short at London Film Festival.
Alongside his film work Simon is a regular mixer for the Financial Times podcasts and has worked with brands such as Google Pixel, Channel 4, Burt’s Bees, Herd and beyond.
He is proudly an assosiate artist of Brain Audio and a BAFTA Connect Member.
Simon is a sound designer, dubbing mixer and field recordist. His work spans across fiction, documentary, animation, commercials and podcasts. He graduated from the MA in Sound Design for Film at the National Film & Television School in 2023.
Simon’s approach to sound design is always in service of the storytelling. His ambition is to weave his soundtrack into the fabric of every project. As such he is dedicated to field recording during production, collaborating across departments and is keen to experiment with new workflows and techniques.
In 2023 Simon was awarded the MPSE Verne Fields Golden Reel for Outstanding Sound Editing in a Student Film for his design and mix of Dive.
In 2024 Crab Day, which Simon was the Sound Supervisor for, won the BAFTA for the Best British Animated Short as well as the RTS Award for Best Postgraduate Animation, where Simon’s sound design was also recognised for an RTS Craft Award.
He has also sound designed films that have won at the British Animation Awards and been nominated for Young Arrows and Best Short at London Film Festival.
Alongside his film work Simon is a regular mixer for the Financial Times podcasts and has worked with brands such as Google Pixel, Channel 4, Burt’s Bees, Herd and beyond.
He is proudly an assosiate artist of Brain Audio and a BAFTA Connect Member.