A work in constant progress (and occasional regress).
Caleb Jacobs is a Sydney based award-winning composer and sound designer, music producer, songwriter and musician. Since graduating from AFTRS in 2015, Caleb has steadily built an impressive body of work across an array of mediums. Varied as they are, they all carry a common thread - storytelling. Whether he’s writing for film, TV, commercials, podcast or installation, storytelling is at the heart of his process. He has deep roots in the Sydney music scene where he cut his teeth as a guitarist leaning into distorted amps in search of new sounds. He carries that spirit with him in the studio and has since collaborated with and produced countless local artists such as Babitha, Isabella Manfredi, Le Pie, Ona Mota and Richard Cuthbert. He’s currently working with Moody Beach as the Music Director of her live show. This year Caleb’s been the composer for the Australian feature film ‘The Longest Weekend’. He’s also contributed music to the Channel 9 docuseries ‘For the Love of Pets’. Both productions have 2022 release dates. Caleb is equally at home in the art, film and commercial space. He’s worked alongside Uncanny Valley, Piers Burbrook de Vere, Mighty Sound, Otis Studios and Melodie. He’s collaborated with agencies such as Paper Moose, Analog Folk, Jack Nimble and Innocean. He’s recorded podcasts with Adam Liaw and had soundscapes showcased at Vivid. In the film world, Caleb's worked with an exciting and eclectic mix of directors including Natalie Morales, S.K. Dale and Molly Haddon. For Caleb, the fun begins when collaborating with like-minded, driven creatives whose pursuit of true and meaningful work is equally impassioned.
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.