Ross Euan Davidson

Sound Design / Composition / Sonic Art

 “Working with Ross is an absolute joy! His sensibility, creativity, dedication and experience are exceptional and enriching to creative filmmaking.”


Mahasen Nasser-Eldin — Director, We Carve Words in the Earth (TBA)

“Ross was such a joy to work with as a post sound mixer on our Feature Documentary 'Reaching for Light'. He really took the time and space to understand our ideas and intentions whilst bringing in artistic input of his own. We really felt guided throughout the whole process, I'd definitely recommend his services to anyone!”


Eva Yap — Director, Reaching for Light (2025)

“Ross is a delight to work with on set and in post. He has been sound recordist for several of my shorts and came on as sound designer for my latest. He is both meticulous and creative in his approach and I can always trust that I will have great sound on my films.”


Emma-Jane Heaton — Director & Writer: Lone (2025); Hoard (2024); Gorgon (2023); I Am Feeling Overwhelmed (2023)

“Ross is very knowledgable about all aspects of sound, both on set and in post production. I loved working with him and would do it again in a heartbeat.”


Asa Gartland — Director & Writer, The Rounds (2025)

“Working with Ross is such a creatively freeing exercise, we've never run into an idea he wasn't up for trying. I've seen the man take a violin bow to an electric bass and feed it through a modular synth to create a sound like a synapse backfiring... he's quite good at his job.”


Frankie Currie — Director, Magpie (2024)

“Ross is incredibly collaborative and insightful. His nuanced interpretation of the story and talented sound design elevated the film with additional layers and depth. Despite other post production challenges Ross was patient and made the process much easier, and enjoyable. I would hire him for future projects in a heartbeat.”


Sarah Hedar — Director, Satisfaction Guaranteed (2024)

"I had the privilege of collaborating with Ross on two visual music projects, and it was an inspiring experience. He’s an exceptionally talented sound artist who combines professional-level compositional skill with deep theoretical knowledge. Ross also has a strong sense of the visual dimension, intuitively shaping sound to match the mood and concept of each piece. He brings original ideas, thoughtful suggestions, and a clear understanding of what each project needs. Overall, working with such a creative and insightful artist has been a real pleasure."


Emmanouil Kanellos — Director/Visual Artist, Vorstellung (2024)

“I’ve worked with Ross on a few films and he is an absolute master of his craft. He is everything you could want in a collaborator and more, making brilliant suggestions to elevate the soundscapes of my films beyond what I imagined. I’d recommend him for anything sound related and look forward to working with him again in the future.”


Dom Lee — Director & Co-Writer, Croak (2023); Director, This Life of Ours (2024) & Between The Lines (2022)

“It was a pleasure working with Ross. His sensitivity and creativity (as well as his extraordinary technical proficiency) really elevated our project.”


Benjamin Tassie — Composer, A Ladder is Not the Only Kind of Time (2023)

“Finding a shared understanding of the story being told can be tricky, but working with Ross made the process joyful. His musical sketches based on our visual treatments really helped articulate the feeling and tone of the film to cast and crew. And shaping the score through post, finding nuances and ways to enhance the emotional storytelling was a highly satisfying experience. Ross was instrumental to the success of our project."


Mat Braddy — Director & Writer, Deus Otiosus (2020)

“Working with Ross was efficient and rewarding; his punctual responses to notes were always focused on the work and on making the music fit the narrative in the best possible way, above all. I’d recommend his services to any creative looking for a score in film/theatre, I guarantee you will have no headaches and get the best result as a product of Ross’ hard work and dedication."


Gemima Hull — Director, Vulnerable Moments (2017)

"Ross was an absolute pleasure to work with, bringing an incredibly unique musical style and wonderful can-do attitude. The music fit the brief like a glove, and nothing was ever too much to ask when there were changes to choreography or direction. Ross’ hard work and sheer talent gave the show an intricate stylistic direction which integrated perfectly with the nature of the dance-theatre piece."


Jessie Romain — Producer, Breathing Corpses (2017)

“Ross crafts sonic soundscapes with close attention to the emotions of an image or scene — exactly what I was looking for. Total pleasure to work with."


Thomas Parrish — Director & Writer, Jackdaws (2016)

I am a Sound Designer whose experience in professional audio work began in 2014. I enjoy collaboratively developing creative approaches that are unique to the project at hand; working as part of a team is a wonderful way to collectively achieve more than the sum of individual efforts, and I highly value the process of inter-dependently developing work to find innovative and compelling ways to tell stories.

The variety and extent of my previous experience has given me a wide range of skills and creative approaches to draw upon in responding to any project, and I am excited by any role that offers the opportunity to apply and further develop these skills.

In September 2025 I submitted a practice-led PhD research project (currently awaiting final review) exploring integrated approaches to film sound design. This is a creative filmmaking approach that encourages collaborative practice across the filmmaking team, interweaving each element of the film in service to telling the story at hand. Often, this results in blurred lines between sound effects, score and dialogue.


As part of this research, I organised a two-month placement with Sound Designer Peter Albrechtsen, during which I gained invaluable experience into innovative creative practices at the forefront of modern sound design.

My work has ranged from sound recording through to mixing and final delivery. These experiences have encompassed almost every facet of creative film sound roles, from collaborative work developing ideas in pre-production, to production sound mixing, post-production sound design, and re-recording mixing.

I have managed post-production sound teams to create compelling and unique sound design through collaborative development of our creative work. I also have experience as the sole post-production sound worker, and I am comfortable taking responsibility for any aspect of the sound design process. I have composed music for projects ranging from film to live theatre and dance, and my musical works have been played and awarded internationally. I also have extensive experience in dialogue editing, and have created evocative sound design to accompany voice-over and spoken-word pieces. Each of these roles has developed my skills in sound recording, cleaning, editing, and composing, across a wide range of contexts.

Examples of my work

Excerpt from Lone (Emma-Jane Heaton, 2025)

This is an excerpt from Lone, for which I was the Sound Designer (which also involved recording Foley for the sounds of clothing movement in this excerpt) and Re-Recording Mixer as well as First Assistant Sound on set.


It was a fun challenge to balance all the elements in this sequence to build and maintain tension throughout. I particularly enjoyed finding just the right point for each sound as the beast starts trying to break down the door, to make sure that everything worked together (rather than competing for the same space) to heighten the impact of the scene.


It was also great to feel the benefits of continuity from set to post-production with this — I edited in many of the vocalisations from the man onscreen from a wild track Waqar and took the initiative to record on set, with the gracious and patient actor Michael Timney.


Score: Bruno Gillick

Dialogue Edit & Production Sound Mixer: Waqar Shah

Excerpt from Croak (Dom Lee, 2023)

CONTENT WARNING — this video excerpt depicts a fictional representation of two characters trying to end their lives by car asphyxiation.


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In this excerpt from Croak, I was responsible for the sound design and the final mix. I created the sound design of the car (including distinct layers for the engine created from holding objects against the spinning blades of a room fan), the background ambience, and the treatment of the child's voice that the scene pivots around.


I'm particularly proud of the close interaction achieved between Ben's score and the sound design throughout this excerpt, a result of our close collaboration throughout the post-production process.


Score: Ben Malley

Dialogue Edit: Stuart Ankers

Foley: Gabriel Hansen

Production Sound Mixer: Nathan Brennan