About

I'm a composer and sound designer with professional experience across film, television, commercials, and game-related projects.

My background includes not only composition, but also Foley, ADR, editing, and mixing. This allows me to approach music as part of the full audio landscape, not in isolation.

I focus on delivering music that supports the scene, works with dialogue and sound design, and integrates naturally into the final mix.

My work has been used in commercial campaigns and film productions, and has received recognition in international competitions.

I approach each project with a clear goal: deliver reliable, high-quality work that strengthens the final result, both technically and artistically.

I am open to remote collaboration and international projects.

Working in studio at the production desk

How I work

Every project starts with understanding the story, the mood, and what the music needs to do.

If there is a reference, I first break down what makes it work: arrangement, instrumentation, structure, and the musical moments that matter most for the brief. Then I build my own version, keeping the mood while making the music original.

If there is no reference, I usually start at the piano. I sketch ideas, follow the emotional flow of the scene, and test what works before moving into arrangement and production.

From there, the process stays flexible. I move between writing, sound design, recording, and refinement depending on what the project needs, always keeping the story in focus.

Studio

This is the place where most of my work starts and grows. Over the years, I’ve put it together around the way I write music, with real instruments, microphones, speakers, headphones, and the software I use every day.

It gives me the freedom to move between sketching, arranging, recording, editing, and shaping details without breaking the flow. The upright piano in the studio is often where I test ideas first, especially when I’m following the emotional movement of a scene and trying to find the right direction. From there, the music can grow into orchestral parts, textures, or more production-based work depending on what the project needs.

I’ve built this space step by step over many years so it supports the way I work – focused, flexible, and personal. It’s a place where creative instinct and technical work come together naturally, and where music can take shape from first idea to final version. And if you stay on the piano for a moment, it might answer back.