THE BRIDGE - TITLE SEQUENCE

Sound Design for Ginx TV's flagship eSports show The Bridge. The title sequence had to sound industrial, futuristic, and impactful - creating a sense of anticipation and excitement for the audience.

This was achieved through combining a huge number of heavily designed Audio Effects. These range from recordings of electrical interference through to heavy-duty machinery, layered with lashings of custom created effects from my own personally designed library. I find this combination allows the real-world textures of location recordings to flourish, creating a sense of the familiar, while at the same time evoking a sense of the otherworldly through the addition of custom digital, synthetic audio layers. This for me is a highly effective approach when working to a sci-fi themed piece.

The light beams as we hold on the ‘The Bridge” text from 6 seconds in are actually all designed and created from one static recording. They needed to sound distinct from one another, and directional, with some beams travelling away from the screen and some towards; they are also spread from left to right. Using a range of post processing techniques including comb-filtering, ring modulation, bit-crushing, panning and pitch modulation, I was able to create the illusion of their directionality in addition to creating a wide variation between individual instances, despite these sounds all originating from the same source file.

The end result of these described processes is a dark, heavy sounding title sequence, in accordance with the visual aesthetic. I hope you enjoy it!

Design and Animation by the mighty Dave Goodall


DOGHOUSE - FOLEY

Here is a clip from the 2009 Feature Film 'Doghouse', (Starring Danny Dyer, Stephen Graham, Noel Clarke et al) for which I recorded, edited, and pre-mixed the Foley during my time at Molinare.I have stripped away all audio from the mix except for the Foley, to highlight my work on this fantastic project.

Highlights for me include:

Golf ball and pipe swinging (which includes a layer of blowing down a metal pipe to simulate the swing of the hollow object) and:
Blood Spurting from neck on decapitation (squishing of some mashed fruit and wet sponge to achieve a good 'spurt'! :)
Teeth smash! Gruesome!

Director: Jake West
Foley Artists: Jason Swanscott, Claire Mahoney
IMDb page

In this second clip from the film ‘Doghouse’ I have altered the mix to highlight my work – the Foley is still at the forefront of the mix, however I have left the dialogue in (but removed all Sound Effects and Music) to exhibit a rudimentary integration of the Foley in the mix.


Highlights for me include:

ALL fire sounds are (believe it or not) 100%, (untreated) Foley Recordings!
I am particularly happy with the stream of fire whooshing out of the water pistol; there were absolutely TONS of layers going here! I to this day, I cannot believe the sound we achieved here.
Glass Smashing Deluxe, we caused a mighty mess!

Director: Jake West
Foley Artists: Jason Swanscott, Claire Mahoney
IMDb page


THE FLYING MACHINE - FOLEY

Here is a clip from the wonderful 2011 Feature Film 'The Flying Machine', for which I recorded, edited, and pre-mixed the Foley during my time at Molinare. I have stripped everything away from the mix except for the Foley, to highlight my work on this fantastic project.

The Stop Motion sections of this film were incredibly fun to work on. When recording the Foley, it was highly important to give these animated sequences a sense of reality, whilst to a degree minimising the sound, by using smaller, or muted / dampened props in order to make the audio somewhat ‘delicate’, or ‘cute’ so to speak. Of course equally – if not more – important than prop selection itself, is the artistry – in how they are handled in the session!

In this first clip we experimented with various floor surfaces as the girl climbs on the boxes. The toaster and hat sequence required a great deal of finesse in order to accentuate each little nuance of movement. In this respect I particularly like when the landlord picks the hat up from the floor. This was helped greatly by recording a cloth ‘moves’ track emulating or representing, the characters’ clothes moving. This really brought them to life!

Supervising Sound Editor: Bernard O'Reilly
Foley Artist: Jason Swanscott

In the second clip from the Film ‘The flying Machine’, we see the girl slide her doll down the bannister, causing it to fall on the hard wooden stairs. The result is that it breaks, and of course her father must fix it for her.

As the doll hits the hollow steps, we needed to create variation in each knock in order to create a sense of realism. The prop used for the doll itself also needed to have a combination of bare, hard surfaces like the face, and those that are clothed and thus, sounded more dampened when falling. We also needed to give it just a touch of rattle, such that it had presence simply when being held and moved around.
 

The gluing back together of the doll required many layers of Foley to get it sounding right. We needed to achieve just the right amount of gooey, spurting sound in order to adhere to the overall ‘tone’ of the film. Too much ‘spurt’ would have just been slapstick, whilst too little and it would simply be indistinct. I believe we achieved this balance with aplomb, through careful layering, editing and of course, truly outstanding artistry!


Supervising Sound Editor: Bernard O'Reilly
Foley Artist: Jason Swanscott