Original scores written to picture. In each case the film came first — the edit, the pacing, and the movement of the frame set the shape of the cue. Sources range from a 1906 street film to inherited 8mm. Modular synthesis, analog test equipment, tube oscillators, and tape.
8mm film shot in Norway in the 1970s. Faces and landscape at the edge of legibility; the score follows the grain and the drift of the transfer rather than fighting it.
Soviet medical documentary on resuscitation research by Dr. S.S. Bryukhonenko. The cue works against the clinical calm of the footage — steady apparatus, unsteady signal.
The Miles Brothers’ film of San Francisco, shot days before the earthquake. The streetcar’s fixed trajectory gives the cue its structure: a line the music has to travel, distorting as it goes.
Telephone-system footage with system voice fragments of Jane Barbe. Two processing passes run side by side — one holds, one lifts and dissolves. The cue is built around that separation.
Available for horror, psychological thriller, dark fantasy, and experimental film.
Chicago-area and remote. Full independent production through high‑resolution delivery.
kent@theswitchcatalyst.com
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vimeo.com/theswitchcatalyst