PRINCESS | R:EVOLUTION
I provided the Sound Design and Mix for this wonderful Anime style animation, from the Gurus at Breakfast Of Champions.
Plenty of fun was had interweaving Sound Design elements with the Music, such as the on beat coin slam - class! Sparks, Whooshes, and monstrous engines deluxe, was the name of the game here - for this fab Animation promoting Princess’s new R Class Super Yacht
LINKS LONDON - TVC
The Sound Design for this fabulous Links London animation was largely focused on the trademark Links ribbon, which gracefully and glitteringly swoops around our various London locations until we reach the grand opening of the iconic Links London box.
Multiple audio recordings were layered and manipulated - including tarpaulin, silk, and cloth. At the forefront of the ribbon sub-mix, are two silk layers, pitch shifted and panned over time against one another to articulate the on screen movment.
Additional Sound Design layers were used in key moments of the ribbon's journey, such as a 'sparkles' layer which was kept very subtle yet ever purposeful in the mix, and some similarly subtle deep whooshes, just to add that extra bit of 'body' to the ribbon's sound when larger movements occurred on screen.
The film was brilliantly received by the Links marketing team. In addition to being shown both on TV and online, the ad was deployed in-store to raise customer awareness of the new range. I am very proud of the final result and I do hope you'll enjoy it too!
BMW - HOLOGRAM
This stunning Hologram Animation was created for BMW - and exhibited on a continuous loop at the event "The Next 100" celebrating their 100th anniversary. I'm very proud to have supplied the Sound Design & Music, which subtly intertwine to augment the visual action.
My inspiration was largely centred on the idea of innovation in manufacturing – think robotics, mind-boggling circuitry, and high-tech materials.
Aesthetically speaking, my aim was to create something unquestionably modern and design centric, while also giving a nod to the notion of industry and manufacturing - each of these in coherence with the overall message of the event, progress and innovation in development
The piece was designed to be displayed on the Oculus Rift Virtual Reality headset, hence the 4x/prism layout of this version rendered for display online.
I was interviewed by The Crewing Company about my Sound Design work on this fantastic project. Please feel free to read it here for some further insight.
NATIONAL GRID - POWER RESPONSIVE - MOTION GRAPHICS ANIMATION
Our world is changing. So is the energy system that powers it. Together, we can shape and share the possibilities a demand responsive system has to offer.
I was asked to provide Sound Design, Music Edit and Mix for this wonderful Motion Graphics Animation for the Power Responsive awareness campaign. The audio aesthetic was very much about organic, subtle Sound Effects in order to emphasise the ethical responsibility towards nature we all have.
The Audio Effects were fashioned to sound soft, natural, and pleasing to the ear. Recordings of chalk on paper, tennis balls (for the sun burst!), plastic toys rolling around (for the seesaw sequence and ball subsequently spinning in the circle), and Alka-Seltzer fizz were incorporated. These were then processed, warped, and lots of subtractive eq was applied to maintain the emphasis on gentleness, as specified by the client.
The music edit on this piece was particularly challenging, as numerous disparate sections of the raw track were chopped in and compiled to suit the various moods and sequences of the animation, in an effort to suit the narrative as effectively and emotively as possible.
This piece was used at a conference and sits proudly on their website.
TIM HAWKINS - 3D
Sound Design for the AWESOME Tim Hawkins’ 3D work. Tim requested that the Audio effects were highly ‘techy’ and somewhat aggressive.
Creating convincing Sound Effects for the solid balls as they fell was a significant challenge. Some quick thinking led me to the kitchen, where I recorded some trusty marbles, falling to, and rolling around on the tiled floor – glamorous!
Equally challenging was creating an appropriate sound effect for the spinning doughnuts at the end, since the spinning needed to hasten in pace as the piece came closer to stopping. This took lots of experimentation with pitch-manipulation and time stretching to achieve the desired result – which we think ended up pretty perfectly!
The second piece was essentially the same, but in reverse. As the letters ‘fall’ back up to their original position, heavy comb-filtering was used on a synth bass patch created on an old Korg Triton synthesiser.
The balls rolling around were already taken care of, as this simply used the tail ends of the marbles recordings previously made on the kitchen floor, but this time in reverse, with some added pitch-shifting action, and subtle reverb processing creating a sense of space.
CHANNEL 4 - LOVE
LOTS of fun was had providing wacky and over-the-top Sound Design for this hillarious cartoon for Channel 4! All Music and dialogue was Edited and Mixed undertaken was here at SignalSound too.
The cartoon required chunky, in-your-face Sound Effects to assist the raunchy, comedic subject matter. This involved a huge amount of Audio processing and layering, as the comedy factor was key. Expect juicy bum slaps, ridiculous deflating condoms, irreverent slapstick dialogue, reverberant farts, gross burps from the depths of hell, and plenty of crashes, bangs, and wallops in all guises! There was in essence, a no-holds-barred approach to the Audio Design here, a rare departure from my usual focus on subtlety, nuance, and finesse. While undertaking this project, it made me wonder how much fun it must be to be the Sound Designer for such famously wild cartoons as The Simpsons, Southpark, Family Guy et al – these guys must be having a blast!
Given the large number of music tracks, and the way in which they were used to help the narrative, much experimentation and tinkering was required to get the transitions correct. There are many sections where post-processing such as pitch manipulation was used on the music tracks to add to the comedy, for example at 6 miutes 57 seconds where our protagonist goes from sexual hero, to ‘zero’. Also plenty of comedic edits were made to the music – where sudden cuts or dropouts were used to punctuate key moments in the story.
I hope you enjoy watching and listening to this Sound Effects massacre as much as I did creating it!