Pro film/game composer. I’m pretty young, so I work for a couple of composers. My main gig is with Tom Holkenborg (aka Junkie XL), and I do a decent amount of sound design/Kontakt instrument building for Inon Zur on the side. I also do a lot of tech consultation for composers around LA, which I really enjoy – there’s something very satisfying about getting a great studio up and running exactly as someone wants it.
I’ve been getting more and more interested in programming (most notably C++ and Max), which is good since this industry is in very, very bad shape. I’m happy to talk about it more, but the bottom line is I wouldn’t recommend that people try to become film composers anymore.
I’m all but looking to leave film behind (well…Hollywood films, at least; indie can be great but obviously there’s a lot of variables there) for the game world, which has been an overall better experience for me – personality-wise, I think I line up with the majority of the people in the industry more, and my interest in programming goes from being a time suck and liability to an asset, making me extremely valuable (it’s rare to find someone who can wear all three hats of composer/sound designer/audio programmer competently, if at all; I’m not there yet, but the goal is coming along nicely).
I’m in the process of ridding myself of nearly all of my gear and forcing myself to do as much as I can with Max and home-built code, controllers, Eurorack modules, etc. I love the idea of being in control of my tools, much in the same way that an oboe player would craft their own reed. I’m of the opinion that makers of electronic instruments and tools could make an argument for partial authorship of the music, so ideally, working in that domain will affect my music holistically.
In a year, I hope to split my income between composing, designing sound, and building tools (Kontakt instruments, plugins, Max 4 Live devices, etc etc etc). Fun stuff ahead!