CURRICULUM VITAE
Ross Adrian Williams
+65 90736934
Academic Qualifications
| 2002 | Doctor of Musical Arts (DMA), Rice University, U.S.A |
| 1999 | MMus in Music, Rice University, U.S.A |
| 1995 | BMus (Honours) Music, University of Western Australia, Australia. |
Summary of Working Experience
| March 2025 – Present | Senior Lecturer, School of Contemporary Creative Practice, British University of Vietnam. |
| July 2014 – March 2025 | Assistant Professor, School of Art Design and Media, Nanyang Technological University, Singapore. |
| Jan 2003 – Jun 2014 | Senior Lead Instructor, Art Institue of New York City, U.S.A |
| Jan 2001 – Jun 2002 Jan 2000 – Present | Instructor, Art Institute of Houston, U.S.A Freelance Sound Designer and Composer |
Professional Qualifications / Memberships
| 2021-Present | Society for Cognitive Studies of the Moving Image |
| 2019 – Present | Singapore Association of Motion Picture Professionals |
| 2016 – Present 2005 – Present 1996 – Present | Composers’s Society of Singapore Audio Engineering Society (AES) American Society of Composers and Publishers (ASCAP) |
| Academic Honors and Awards | ||
| Year | Academic Honour / Award | |
| 2005 | Faculty Excellence Award, Art Institute of New York City, U.S.A | |
| 1996-2002 | Academic Scholarship (with stipend) Rice University, U.S.A | |
| 1995 | J. Hodges Awards for Outstanding Composition Student, University of Western Australia, Australia. | |
| 1995 | “Paper Tiger” and “The Ground Stained Red” commissioned by the West Australian Symphony Orchestra Composers workshop. | |
| 1993 | “From the Night Sky” chosen for workshop and performance by the Australian String Quartet. | |
RESEARCH SUMMARY
The core of my research centres around the exploration of our perceptual encounter with sound, its interplay with the moving image and how it affects us, emotionally, intellectually, and cognitively.
My interdisciplinary collaborations have led to novel research in diverse areas, combining various scientific disciplines. These include the exploration of volcanic infrasound, gaining deeper insights into the cognitive and perceptual mechanisms underlying the impact of sound on visual memory formation in narrative fiction film, and developing innovative approaches for preserving and experiencing cultural heritage through Virtual Reality.
Key Areas of Research
- Aesthetics of sound design for fiction narrative, experimental and documentary film. Primarily practice based with a focus on multichannel implementation for desired aesthetic outcomes.
- Soundscapes and sound design in Cultural Heritage for VR applications,
- Sound, Memory and Image: How sound effects image memory of narrative in 2D and VR films.
- Pedagogy of Film sound: How film sound can be better integrated into the wider filmmaking program.
Keynote Presentations
| 1. | Where is the Sound? Challenges and Strategies in Enhancing the Status of Sound in Media Pedagogy, (Williams, R & Kuklowsky, F) 3rd Music and Sound Design in Film and New Media Conference, Keynote. |
Conference Presentations
| 1. | Performing the City in Cine VR: A collaborative spatial practice investigating the urban space of Singapore through performative acts (Raidel, E., Seide, B & Williams, R.A.) Electronic Visualization in Arts and Culture (EVA) conference 2024, British Computer Society, London, U.K. |
| 2. | Different Layers of Reality. A Retrospective Evaluation on diverse possibilities for digitally preserving memories of the Yunnan Garden as an Immersive Experience. (Reinhuber, E., Seide, B & Williams, R.A.) International Symposium on Electronic Art 2024, Brisbane, Australia. |
| 3. | Animation Without Music – Implications for Sound Design Aesthetics and Production Practice” Cilect Asia Pacific Association (CAPA) Conference, Valley’s Deep, Mountains High, The Peaks and Troughs of Animation Practice 2023. Griffith Film School, Brisbane, Australia. |
| 4. | Sound and Visual Memory in Narrative Film The Society of Cognitive Studies of the Moving Image Conference 2023, University of North Carolina Wilmington. U.S.A |
| 5. | “Bird Sounds” Sightlines Conference 2023, Australian Screen Production and Research Association. University of South Australia, Australia. |
| 6. | Off-Screen Sound and Visual Memory in Narrative Fiction Film The Society of Cognitive Studies of the Moving Image Conference 2022, Universitat Politècnica de València in Gandia, Spain |
| 7. | Real or Rendered: Designing Soundscapes for Virtual Cultural Heritage HCI 2021 International: 23rd International Conference on Human-Computer Interaction (online) |
| 8. | Unheard, Unseen: Sound Design, Off-Screen Sound and Visual Memory in Narrative Film. The Society of Cognitive Studies of the Moving Image Conference 2021 (online) |
| 9. | Flux Garden – a Poetic Memory of a Lost Garden in VR. Reinhuber, E., Seide, B & Williams, R Art Machines 2 2021. City University of Hong Kong, HK |
| 10. | The Garden of Changes: VR Experience as Meditative Diviniation Device.Reinhuber, E., Williams, R. & Seide. SIGGRAPH ASIA 2020 |
| 11. | An Evaluation of Different Strategies to Represent Performance in a Tropical Garden for Immersive Environments. Williams, R., Seide, B & Reinhuber, E. Electronic Visualization in Arts and Culture (EVA) conference, British Computer Society, London, UK, 2020 |
| 12. | Yunnan Garden VR: Re-creation of a Tropical Garden as Virtual Cultural Heritage. Seide, B., Williams, R. & Reinhuber E. KUI XVIII. International Conference on Culture And Computer Science, Berlin, Germany 2020. |
| 13. | Academy Practice = Industry Practice: Sound in Media Pedagogy, Sightlines: Screen Production and the Academy, RMIT Melbourne, Australia (2019) |
| 14. | Frame No Frame: Sound Design Practice in 360° Film and Virtual Reality,Music and Sound Design in Film and New Media Conference, Lithuanian Academy of Music and Theatre, Vilnius, Lithuania. (2019). |
| 15. | The effect of listening to self-selected music on the effectiveness of robotic motor training to enhance motor control in Hemiplegia, Singapore Music Research Symposium, National Univesity of Singapore. (2019) |
| 16. | The Gone Garden VR Experience – An Impressionistic Representation as Virtual Heritage Reconstruction. ISEA 2019, 25th International Symposium on Electronic Art, Gwangju, Sound Korea, June 2019 |
| 17. | Insufficient Data as Artistic Impression, Exemplified by the Gone Garden VR Experience, (3rd author with Seide, B., Reinhuber, E.), ITFS SAS 2019 – 26thFestival of Animated Film (ITFS) and Society of Animation Studies (SAS) – International Symposium Animation and Science. |
| 18. | 360° Video Secret Detours, IM-ARCH ASIA – Immersive Architecture Asia: Conference on Virtual, Augmented and Mixed Reality for Architecture and Culture SUTD, Singapore University of Technology and Design, Singapore (2019) |
| 19. | Secret Detours: A Garden in Singapore (3rd author with Seide, B., Reinhuber, E) IEEE Conference on Virtual Reality and 3D User Interfaces (VR) IEEE. Reutlingen, Germany (2018). |
| 20. | Be The Centre Of The Universe – Strategies and Concepts to Experience Immersive Media, (3rd author with Seide, B., Reinhuber, E) ZKM Beyond: Future Design Festival, ZKM Karlsruhe, Germany (2018). |
| 21. | Sound Across the Curriculum (1st author with Val Kuklowsky), CILECT North America, Sound Conference: Sound and Storytelling, Chapman University, Orange County, California, U.S.A (2018). |
| 22. | Processing of volcano Infrasound using film Sound Audio Post Production Techniques to Improve Signal Detection via Array Processing (1st author with Perttu, A and Taisne, B) European Geosciences Union, General Assembly, Vienna, Austria (2018). |
| 23. | Quantifying detection capability of a regional infrasound network using a combination of film sound techniques and array processing, (3rd author with Perttu, A and Taisne, B) European Geosciences Union, General Assembly,Vienna, Austria (2018). |
| 24. | Flat Screen, Round Screen, No Screen: Sound Design in Multiple Modalities,Multiversal Experiences Symposium, School of Art Design and Media, NTU, Singapore (2018). |
| 25. | Real Time Spatial Sonification: The Nature of Furies, Imagining Science: Beyond Visibility Symposium, School of Art Design and Media, NTU, Singapore (2018). |
| 26. | Sound Is Sound: Film Sound Techniques and Infrasound Data Array Processing(2nd Author with Perttu, A, Taisne, B, Tailpied, D) Poster Presentation, American Geophysical Union Fall Meeting, New Orleans, U.S.A (2017). |
| 27. | Pedagogy of Sound Design: Teaching film sound analysis to filmmakers 2nd Music and Sound Design in Film and New Media Conference, Lithuanian Academy of Music and Theatre, Vilnius, Lithuania (2017). |
| 28. | Real and Rendered: Immersive Soundscapes and Experience in Virtual Systems, International Conference on Virtual Systems and Multimedia, Sunway University, Kuala Lumpur, Malaysia (2016). |
| 29. | Aesthetics of Sound Design in Hybrid Documentary, Visible Evidence Conference, Montana State University, Bozeman Montana (2016). |
| 30. | Aesthetics of Sound Design for Experimental Film, University Film and Video Association Conference, University of Nevada, Las Vegas U.S.A (2016). |
| 31. | Soundscapes as Cultural Heritage, Singapore Heritage Science Conference, Nanyang Technological University, Singapore (2015). |
Invited Talks
| 1. | Composing for the Screen in Singapore. Post screening discussion. The Projector Cinema @ Cineleisure, Singapore (2024). | |
| 2. | Sound Design in Virtual Reality, School of Screen Arts, Kyungsung University, Busan, South Korea (2019) | |
| 3. | Real Time Spatial Sonification: The Nature of Furies, Department of Earth Sciences and Center for Applied Mathematical Sciences, University of Southern California, U.S.A (2018) | |
| 4. | Urban Soundscapes as Cultural Heritage in Virtual Systems, Yale-NUS College, National University of Singapore. (2017) | |
| 5. | Sound and Time, Parson’s School of Design, New School, New York City, U.S.A (2015) |
Publications
Journal Papers
| 1. | Williams, R.A. “Bird Sounds: Screen Practice Research Sightlines: Filmmaking in the Academy Journal: Issue 6 (2024). | |
| 2. | Williams, R.A. Voice in the Machine: AI Voice Cloning in Film. Art Style, Art & Culture International Magazine, v. 13, no. 1 (2024): 129-143, DOI: 10.5281/zenodo.10443451 | |
| 3. | Williams, R.A., Campbell, K. Sound, Screen & Research. International Journal of Film and Media Arts. Vol. 8, No. 3 Special Edition Sound and Screen (2023). | |
| 4. | Williams, R.A., Perttu, A. & Taisne, B. Processing of volcano infrasound using film sound audio post-production techniques to improve signal detection via array processing. Geoscience Letters. 7, 9 (2020). https://doi.org/10.1186/s40562-020-00158-4 # | |
| 5. | Perttu, A.,Taisne, B., De Angelis, S., Assink, J.,Tailpied, D., & Williams, R.A.Estimates of plume height from infrasound for regional volcano monitoring,Journal of Volcanology and Geothermal Research,Volume 402, (2020),106997,ISSN 0377-0273, ##https://doi.org/10.1016/j.jvolgeores.2020.106997. | |
| 6. | Williams, R.A, “Sound As Equal Partner in Film Production: Can Academic Instruction Change Industry Practice” Ars et Praxis, No. VI, Sept. 2019, pp. 183-189. |
Book Chapters
| 1. | Seide, B., Williams, R. & Reinhuber, E (2020). Yunnan Garden VR: Re-creation of a Tropical Garden as Virtual Cultural Heritage. In (Israel, J., Kassung, C., Sieck, J. & Hülsbusch,W. Eds.) Kultur und Informatik Extended Reality.pp.25-38. Berlin, Germany: Glückstadt Hülsbusch. ISBN: 978-3-86488-169-5 |
Conference Papers
| 1. | Raidel, E., Seide, B & Williams, R.A. (2024) “Performing the City in Cine VR: A collaborative spatial practice investigating the urban space of Singapore through performative acts” Proceedings of Electronic Visualization in Arts and Culture (EVA) conference, British Computer Society, London, UK. DOI: 10.14236/ewic/EVA2024.50 |
| 1. | Reinhuber, E., Seide, B & Williams, R.A. (2024) “Different Layers of Reality. A Retrospective Evaluation on diverse possibilities for digitally preserving memories of the Yunnan Garden as an Immersive Experience” Proceedings of the 29thInternational Symposium on Electronic Art. |
| 2. | Reinhuber, E., Seide, B & Williams, R. (2021) Flux Garden – a Poetic Memory of a Lost Garden in VR. Art Machines 2 2021. Proceedings of ISCMA 2021. School of Creative Media, City University of Hong Kong, HK |
| 3. | Reinhuber, E., Williams, R. & Seide, B (2020) The Garden of Changes: VR Experience as Meditative Divination Device. SIGGRAPH ASIA 2020. (online presentation) |
| 4. | Williams, R., Seide, B & Reinhuber, E. (2020). An Evaluation of Different Strategies to Represent Performance in a Tropical Garden for Immersive Environments. Proceedings of Electronic Visualization in Arts and Culture (EVA) conference, British Computer Society, London, UK, 2020http://dx.doi.org/10.14236/ewic/EVA2020.56 |
| 5.I | Seide, B., Williams, R., & Reinhuber, E. (2019). The Gone Garden VR Experience – An Impressionistic Representation as Virtual Heritage Reconstruction. Proceedings of ISEA 2019, 25th International Symposium on Electronic Art,Gwangju, Sound Korea, June 2019. |
| 6.I | Reinhuber, E., Williams, R. & Seide, B (2018). The Scale of Immersion: Different audio-visual experiences exemplified by the 360° video Secret Detours. Proceedings of Electronic Visualization in Arts and Culture (EVA) conference, British Computer Society, London, UK, 2018, (pp. 236-243) [acceptance rate: ~30%] |
| 7.I | Reinhuber, E., Seide, B., & Williams, R. (2019). The 360° video Secret Detours as case study to convey experiences through immersive media and the method of presentation. Proceedings of ISCMA 2019. School of Creative Media, City University of Hong Kong, HK, January 2019 |
| 8. | Williams, R., Perttu, A., & Taisne, B. (2018) Processing of volcano infrasound using film sound audio post production techniques to improve signal detection via array processing (abstract). European Geophysical Union General Assembly, Vienna, Austria. |
Journal Special Edition Editor
| 1. | Williams, R.A. Campbell K (Editors) International Journal of Film and Medial Arts Vol. 8 No. 3 (2023): Special Issue Sound and Screen. https://revistas.ulusofona.pt/index.php/ijfma/index |
Working Papers / Pipeline
| 1. | Williams, R.A., Maus, G., Styles, S.J. (2024) Sound Evoked Visual Memory in Narrative Fiction Film – in review Preprint https://psyarxiv.com/mhvq5 |
Citation Summary
| Database | Citation Count | H-index |
| Google Scholar | 54 | 3 |
Research Funding
Internal Grants (Nanyang Technological University)
| Role | Year | Project Title | Amount (S$) | Source of Grant | |
| PI | 2022 | Sound And Screen Conference | 5,000 | NTU CoHASS Interdisciplinary Conference Symposium and Workshop Scheme | |
| Co-PI | 2021-2024 | From Print to Digital Continued: Expanded Research into adapting Shakespeare for VR, AR and AI | 496,190 | MOE AcRF Tier 2 | |
| Co-PI | 2021-2024 | A Choice for Life – Education about Diabetes in a Fully Immersive Environment (VR) | 78,600 | MOE AcRF Tier 1 | |
| PI | 2019 – 2023 | Unheard, Unseen: Sound and Memory in Sound Design for Narrative Film in 2D and VR | 53, 726 | MOE AcRF Tier 1 | |
| Co-PI | 2018-2020 | Virtual Reality for the Lost Singaporean Film Pontianak (1957). A Case Study to Explore Virtual Reality Environments for Singapore’s Cinematic Heritage | 59,800 | MOE AcRF Tier 1 | |
| Co-PI | 2016-2019 | Tangible/Intangible: Exploring the possibilities of capturing multi-sensory impressions to create immersive Virtual Reality environments, exemplified with the forking path structure of the Yunnan Garden at NTU. | 97,000 | MOE AcRF Tier 1 | |
| Co-PI | 2016-2019 | Real time spatial sonification of Nature’s furies using infrasound sensors installed at NTU | 50,186.16 | MOE AcRF Tier 1 | |
| PI | 2014 – 2019 | Age of Unreason | 35,000 | MOE AcRF SUG | |
TEACHING SUMMARY
As a passionate teacher I have spearheaded pedagogical initiatives aimed at integrating sound, sound concepts and theory across all areas of the screen media curriculum. As the sole faculty member responsible for sound, I have made meaningful contributions to enhance the sound education across the university. For these reasons I have been nominated 4 consecutive years (2016-19) for the ADM school teaching award and my commitment to continue to develop and improve my pedagogy remains central to my teaching practice. My teaching feedback scores consistently exceed the school mean and I have written 4 courses. I have taught approximately 350 undergraduate and 11 graduate students
I have actively mentored 20 Final Year Project films. 8 students under my direct supervision have won awards, or beenselected in notable international film festivals. I’m currently co-supervising 1 PhD student and 1 MA student.
Courses Taught (In Singapore)
| Course Code | Course Title |
| DF2011/DF3008 | Sound for Film: Introductory sound for moving images, concentrating on sound and story, production sound techniques and aesthetics. |
| DF3005 | Audio Post Production: Theory and aesthetics of post-production processes including sound design and rerecording mixing with an emphasis on practice. |
| DF2013 | Film Music in Theory and Practice: An introduction to an analytical, historical and practical study of music and moving images. Exploring the history, theory, terminology and methods needed to analyse and interpret soundtracks. |
| DF2004 | Sound in Media: This introductory course examines sound and hearing in the media context. Sound recording is examined from historical, technical, cultural, social and material perspectives. |
| AP9047 | Seminar in Media Production: (graduate) A graduate seminar that introduces a broad range of scholarly attempts to theorise media production in which institutional interests and media artists’ creative interests struggle over the construction of meaning. |
Courses Taught (In U.S.A)
| Course Code | Course Title |
| MM2007 | Media History and Society: A survey course that examines key milestones in media history and its effects on culture and society. |
| MM3040 | Sound Cultures: Examines the cultural, social, and political significance of sound in human societies. A wide range of sonic practices are examined—from music and radio to soundscapes and noise. |
| MM2009 | Aesthetics of Sound and Screen Media: A theoretical and practical introduction to sound and moving images. |
| MM3001 | Sound Design: The aesthetics of sound design for screen media with an emphasis on narrative film. |
| MM4000 | Internship: Developing industry relationships and supervision of student internships in screen media placements. |
Summary of Student Feedback Scores
| All Academic Years (2015 – 2024) | Average Teaching Score (all years) | Average School Mean (all years) | % > School Mean (all years) |
| 92.97% | 89.18 | 4.05 |
Teaching Awards / Recognition
| Year | Teaching Award / Recognition |
| 2022 | Wong Hui Grace – Outstanding Achievement in Sound Editing (Student category) Golden Reel Awards, MPSE (Motion Picture Sound Editors) |
| 2021 | Heng Jing Yu – Best Sound Design – National Youth Film Awards (Student Category) |
| 2021 | Alistair Quak – Best Sound Design – National Youth Film Awards (Open youth Category) |
| 2018 | My FYP Group won best film at the National Youth Film Awards for their film “Bangla” directed by Chen Hui Yi. |
| 2018 | My sound design student Lim Wen Qiang Jonathan won the best sound award at The National Youth Film Awards. |
| 2017 | My sound design student Brenda Jean Yong won the best sound mix and best sound edit awards at The National Youth Film Awards. |
| 2016 | My sound design student Chin Ying Xuan Ivy won the best sound mix and best sound edit awards at The National Youth Film Awards. |
| 2005 | Facutly Excellence Award, Art Institute of New York City, U.S.A |
| 2016-19 | Nominated for School Teaching Award (4 consecutive years) |
CREATIVE WORK
What follows is an extensive list of creative works. My work for award-winning films and animations have been exhibited in over 160 festival screenings around the world, including major Academy Award qualifying festivals such as the Ann Arbor Film Festival, DOC NYC Film Festival, Palm Springs International Animation Festival and Tokyo Short Shorts Film Festival. My collaborative installation works have featured at international art fairs such as Portal: Governors Island Art Fair in New York City and my collaboration with Song-Ming Ang, a prominent Singaporean artist, resulted in the creation of the installation titled “Recorder Rewrite,” which was presented at the prestigious Venice Biennale in 2019. A full list of screenings and exhibitions are linked on my website can be found here.
Note on Terms: Sound design is used to describe any and all aspects of post-production sound except for mixing, this includes conceiving and designing the sound world of the work, sound editing (including foley), dialog editing, dialog re-recording and editing, atmosphere sound recording and editing etc. Score refers to original music composition that was written, performed and recorded to accompany the image track. Sound mix refers to combing and balancing all sound elements, applying relevant processing, placing the sounds in space and outputting the completed soundtrack according to desired specifications. Not captured in these terms is the collaboration that occurs with regards to story development, editing and project conceptualisation.
| 1 | Antarctica: A Giant Awakes (2024) Documentary film (53min) Sound design, sound mix and additional score. Directed by Liz Courtney. |
| 2 | The Woman Who Fell to Earth and Met the Pontianak (2023) room scale VR installation work. Sound design and score. Directed by Benjamin Seide. |
| 3 | Bird Sounds (2022) Narrative short film (19min), writer, director, co-editor, sound designer, sound mix and score composer. Produced by Ivy Chin |
| 4 | The Seven Step Verse (2022) VR short film (10min). Sound design, sound mix and score. Directed by Ella Raidel. |
| 5 | “New Normal” (2021) short film, narrative fiction (8min). Directed and Produced by Chul Heo. Sound design, Sound Mix and Score. |
| 6 | “Like Me Like You” narrative short fiction (3min).. Sound design, Sound Mix and Score. Directed by Chul Heo (2021). |
| 7. | Even While the Dust Moves (2021) – 2 channel video/animation Installation with multichannel sound, (Prives, S, & Williams, R) Sound design, mix and score (2021). |
| 8. | Shakespeare VR – Sound Design, music composition. A VR work directed by Hans-Martin Rall (2021). |
| 9. | Chronicles SG short film (segment of an omnibus feature film) Sound Design and Sound Mix. Directed by Jasmine Ng (2021). |
| 10. | Flux Garden, Installation, room scale virtual reality work, (Seide B, Williams, R & Reinhuber, E) Artistic interpretation of a cultural heritage garden. First author sound design, mix and score (2020). |
| 11. | East Coast Lovers, Narrative short film, directed by Wee Li Lin. First author sound design, sound edit and sound mix. (2020) |
| 12. | In Between Faraway Places, 1 channel video/animation Installation with multichannel sound, (Prives, S, & Williams, R) Projection mapped abstract animation with multichannel sound design and score. First author sound design, mix and score (2019). |
| 13. | Recorder Rewrite, 3 channel video installation with 4 channel sound, (Song-Ming Ang Director/conceptual artist), first author sound design, mix and composer (mvt 3 only) (2019). |
| 14. | The Silk Road – A Showcase for Heritage Science, animated, dome projected, short film. Written and produced by Andrea Nanetti, directed by Hans-Martin Rall. First author sound design, sound mix and additional score (2019). |
| 15. | Gone Garden, Installation, room scale virtual reality work, (Seide B, Reinhuber, E & Williams, R) Artistic interpretation of a cultural heritage garden. First author sound design, mix and score (2018). |
| 16. | Venomenon, stereoscopic video with multichannel sound. (Reinhuber, E & Williams, R) First author sound design and score (2018). |
| 17. | We Said We Didn’t See it Coming, 1 channel video/animation Installation with multichannel sound, (Prives, S, & Williams, R) First author sound design, mix and score (2018). |
| 18. | Time Waves, 1 channel video/animation Installation with multichannel sound, (Prives, S, & Williams, R) First author sound design, mix and score.(2018) |
| 19. | Naked Running, room scale Virtual reality work/installation, (Todorovic, V & Williams, R) First author sound design, mix and score (2018). |
| 20. | Apple of My Eye, animated short film, (Benvenuti, D, Director/animator) First author score. (2018) # Award winning and screened at tier 1 festivals. |
| 21. | Waiting Room, narrative short film, (Midori-Woodford, N, Director, Chua Jeremy) First author sound design, mix and score (2018). |
| 22. | Surfing the Wave, promo Trailer for Melbourne International Animation Festival (Hannes R, & Williams R) First author sound design, mix and score (2018) # Screened at tier 1 festivals. |
| 23. | Secret Detours, 360° film with multichannel surround sound. Multiple presentation formats, dome, VR headset, flattened panorama etc. (Seide B, Reinhuber, E & Williams, R) Artistic interpretation of a cultural heritage garden (2018). |
| 24. | Little Fiel, hybrid short documentary (Patkanian, I, Director/Producer) First author sound design and mix (2017) Multiple awards, over 50 festival screenings including multiple tier 1 festivals. |
| 25. | Animals, narrative short film, (Moore, J, Director/Producer) Sound design and mix (2017) # International Tier 1 screening. |
| 26. | Next to Cleanliness, abstract short film, (Feinstein, K, Director/Producer) First author sound design, mix and score (2017) |
| 27. | Three Boats/Children in Gold, experimental short documentary (Patkanian, I, Director/Producer) Sound design and mix.(2017) |
| 28. | The Third Script, animated short film (Khajaiv, J, Director) Sound design and mix (2017) |
| 29. | Areola Borealis, narrative short film, (Wee, L, Director) Sound design, mix and score (2017). |
| 30. | Dev Null, narrative short film, (Wong, Chen-Hsi Director/Producer) First author sound design and sound mix. (2017) |
| 31. | An American Quilt, documentary short film (Sohnen R, Director/Producer) First author sound design, mix and score (2016) |
| 32. | Socrates of Kamchatka, feature documentary, (Patkanian, I, Director/Producer) Sound design and mix (2016) |
| 33. | Helter Skelter/Death of A Sun, 1 channel video/animation Installation with multichannel sound, (Prives, S, & Williams, R) Sound design, mix and score.(2016) |
| 34. | An Echo of the Modern: Part 1, abstract short film (Feinstein, K, Director/Producer) Sound design, mix and score. (2016) |
| 35. | Zabaleen, feature documentary, (Kramer, J, Director, McCarthy, L Producer) Sound design, mix and score. (2016) |
| 36. | A Question Lingers, abstract short film (Feinstein, K, Director/Producer) Sound design, mix and score. (2015). |
| 37. | Eterna, networked real time animation installation (Gonzalez, J programmer/animator) First author interactive score (2015). |
| 38. | Black Remnants (3 versions: I, Tryptich, Pentaptych) multi-channel video/animation Installation with multichannel sound, (Prives, S, & Williams, R) First author sound design, mix and score.(2015) |
| 39. | Protosonus, multichannel sound and video installation. (2015) |
| 40. | Fellini – Circus of Light, 360° Immersive short film, (Seide, B, Shedd, B & Williams, R) First author sound design and mix.(2015 |
| 41. | Fellini – Bells and Wind, sound design for Fellini: Circus of Light exhibition at School of Art Design and Media, NTU. First author sound design and mix.(2015) |
| 42. | Tethered, narrative short film, (Okupniak, E Director/Producer) First author mix and score (2013). |
| 43. | Rude Dude, feature documentary (Fischer, I, Director/Producer) First author sound design, mix and score.(2012) |
| 44. | Lost in the Crowd, feature documentary, (Graf, S, Director/Producer) First author sound design and mix.(2010) |
| 45. | The Wonder Project, narrative feature film, (Doscher, D, Director, Williams, G Producer) First author sound design, mix and score (2010). |
| 46. | Armed Defense, narrative short film (Patkanian, I, Director, Ford, G, Producer) First author sound design, mix and score (2009). |
| 47. | Magritte Momment, narrative short film, (Fischer, I, Director/Producer) First author sound design, mix and score(2007). |
Awards / Honors for Creative Works
| 1. | 2021 Vertical Movie Award Winner – New Normal, 4th Vertical Movie Festival, Rome, Italy |
| 2. | 2021 Yatay Award – New Normal, 3rd Yatay Festival Vertical, Argentina, |
| 3. | 2018 Gold Award, Best Film- Apple of My Eye, 20th Digicon6 ASIA Singapore Region. |
| 4. | 2019 Grand Jury Prize, Best Short Film – Little Fiel, Boulder International Film Festival, U.S.A. |
| 5. | 2019 Grand Jury Prize, Best Documentary Short Film – Little Fiel, Boulder International Film Festival, U.S.A. |
| 6. | 2018 Best Short Film – Little Fiel, BlackStar International Film Festival, Accra, Ghana |
| 7. | 2018 Best Documentary –Little Fiel, Beveren International Short Film Festival, Beveren, Belgium |
| 8. | 2018 Best Documentary –Little Fiel, DOC LA Film Festival (Los Angeles Documentary Film Festival) Hollywood, C.A. U.S.A |
| 9. | 2018 Best Short Documentary-Little Fiel, Charlotte Film Festival, Charloette, N.C, U.S.A |
| 10. | 2019 John Michaels Film Award-Little Fiel, 41st Big Muddy Film Festival, Carbondale, I.L, U.S.A |
| 11. | 2018 Best Short Documentary Film-Little Fiel, Santorini International Film Festival, Santorini, Greece |
| 12. | 2018 Best Short Documentary-Little Fiel, (2nd Prize) Ierapetra International Documentary Festival, Crete, Greece. |
| 13. | 2018 Best Short Documentary-Little Fiel, (2nd Prize) Woods Hole Film Festival, Redfield Auditorium Woods Hole, Cape Cod, MA, U.S.A |
| 14. | 2018 Best Art Award (Group) – Gone Garden, ZKM Beyond Festival, Art exhibition, ZKM Karlsruhe, Germany. |
| 15. | 2017 Best documentary Short – Three boats/Children in Gold Peace on Earth Film Festival, Chicago, U.S.A. |
| 16. | 2013 Best Narrative Short Film – Armed Defense, University Film and Video Association Conference, Orange, C.A. U.S.A |
| 17. | 2011 Best Film-Lost in the Crowd, Vox Feminae Film Festival, Croatia. |
| 18. | 2008 Best Short Film- Magritte Moment, Philadelphia Asian American Film Festival, U.S.A |
| 19. | 2009 Best Narrative Film-Magritte Moment, Artsfest Film Festival, P.A. U.S.A |
| 20. | 2009 Best Experimental Film-Magritte Moment, Eugene International Film Festival, O.R. U.S.A |
SERVICE SUMMARY – At the School of Art and Design, NTU Singapore.
School
| Period of appointment | Role |
| 2017 – 2025 | Graduate thesis examiner, qualifying exam examiner, graduate supervisor, thesis advisor committee (TAC) member. |
| 2023-2025 | ADM Undergraduate Enrolment Committee: Reviewed undergraduate applications and enrolments. |
| 2019 – 2023(Dec) | Film Program Co-ordinator: responsible for day to day administration of the film program, budgeting, class scheduling and curriculum review. |
| 2017 – 2019 & 2021-22 (Aug), 2024 | Final Year Project Co-ordinator: (film) Co-ordinated the management of the student thesis films and industry screening. |
| 2018-2022(Aug) | ADM Graduate Admission Committee: Reviewed graduate proposals and interviewed candidates. |
| 2021-2022(May) | ADM 2025 Undergraduate Committee: Developed proposals for the overall restructuring for the undergraduate programs. |
| 2021-2022(May) | ADM 2025 Graduate Committee: Developed proposals for the overall restructuring of graduate programs. |
| 2014-2024 | Faculty Mentor – ADM “Music District” music club |
| 2023-2024 | Faculty Mentor – ADM Film rush 48 hour film competition. |
University
| Period of appointment | Role |
| 2018 – present | University Scholarship Committee(s) Various. |
| 2022 | NTU College of Science: Investigation Committee (IC) Member (Faculty misconduct) |
Academic Community
| Period of appointment | Role |
| 2019-present | EVA (Electronic Visualisation and the Arts) London Program Committee |
| 2022 | Conference founder, organiser, conference chair.” Sound and Screen” in association with CIELCT www.soundandscreen.org |
| 2022-present | External Examiner LaSalle College of the Arts. Singapore. |
| 2024- present | Invited Journal paper reviewer (International Journal of Film and Media Arts) |