I have worked with many independent animation filmmakers developing a unique sound and music world for their films. I like to personally handle all audio aspects of a film in close collaboration with each filmmaker: from the early sound concept, music composition, sound design and foley to the final mix and delivery for cinema and other media.
…and other films by Sean Buckelew, Mikey Please, Réka Bucsi, Nicolas Ménard, Adrian Dexter, Kirsten Lepore, Jun Seo Hahm, Celine Desrumaux, Julian Glander, Kangmin Kim, Stefan Sagmeister, Pernille Kjaer, Jonatan Schwenk, Andy Rementer, Kevin Dart, Alan Warburton, Philip Hunt, Mario Klingemann, Nikita Diakur, Katy Wang, Robert Löbel, Joe Donaldson, Eoin Duffy, Julien Vallée, Claudio Salas, Lucas Zanotto, James Curran, Scott Benson, Eamonn O’Neill, MrKat, Mate Steinforth, Sean Pecknold, Johnny Kelly, David Wilson, Adam Gault.
"Thanks a mil again 👏 👏 👏 You really nailed it and added so much to the piece with your work!"
Animation World Magazine
"You’d be hard pressed to find a recent indie animation short or commissioned work that doesn’t feature David Kamp’s name in the credits. From Nikita Diakur’s Ugly, Nicholas Ménard’s Wednesday with Goddard, David OReilly’s Please Say Something to commissioned projects for Ted-Ed, The New York Times and other organizations I’ve no desire to plug without full compensation, Kamp’s soundscapes are distinct."
Form Magazine Nº 279
"In animated films, the key task of sound design is to bring abstract images to life and to find convincing soundscapes for the frequently fantastic worlds, even and especially if they have no connection to everyday reality. David Kamp manages this in an impressive manner. His soundscapes open up the cinematic space beyond the framework of the screen, entirely in the spirit of Béla Balázs, who noted: The possibility afforded by sound films to hear the space without having to see it, the ability to regard the most intimate close-up and simultaneously hear the entire breadth of the huge space, offers contrapuntal potential which has seldom been exploited in cinema and hardly ever to full effect."
"David Kamp was brilliant. He created a cinematic soundscape that really helps make these flat, book-like compositions come to life."
"You know how when you have an idea for something in your mind, and it seems like it'll be so epic and beautiful, but then you start drawing and you're just constantly disappointed? And so you contact a musician to try and dig that original inspiration out of your crummy drawings and turn it into the great thing you were imagining? That's what David does. Every single time."