I wrote the music and did the sound design for Captal FM’s 2011 commercial, and then did a revision of it for their new film this year. See the new 2012 advert here, or check out the original full length version below.[vimeo 39361276]
I wrote this track with Saul Richards for Kream London… it’s a darn sight harder to whistle in tune than you imagine (I soon discovered). The final sound effects and mix were done by Chris Southwell, have a look:[vimeo 39361441]
This film is one of a series of animations for Mini. They were projected on a huge scale on the sides of buildings, and the sound could be heard through PA systems at viewpoints where the public could interact with the films and choose what played next.[vimeo 39362202]
As the cars were all animated, we had a Mini Cooper recorded with a multiple mic setup as it was put through its paces by a test driver, who performed donuts and skids until the engine blew out. It was from these multitrack recordings that I pieced together all the car movements in the sound edit. In this particular film (Lasers) I created a bunch of laser sounds using sound effects combined with synth blasts made on a Novation Supernova 2, along with a bunch of rock and explosion sfx from the sound library.
Check out this track I wrote for Nokia starring card flourisher Max Vlassenko.[vimeo 39361512]
To go with the homemade brief, most of the percussion was recorded in my talented percussionist and friend Nick Smalley’s front room… we recorded anything we could get our hands on that sounded tasty. Everything from a humble cheese grater to a didgeridoo got hit, all recorded on my Sony PCM D50 handheld recorder. I then made selects, chopped them up and polished it all into the finished thing in my studio within Pro Tools.
Chris Cairns from Partizan and I worked on the music and sound design for this commercial together from the storyboard stage through to the final mix.[vimeo 39362345]
We started by grouping sporting activities with corresponding musical sounds. Having built samplers within Logic using library sound effects, I wrote the track based around the storyboards, and with a bit of to’ing and fro’ing we ended up with something close to the final tune. On the shoot, elements of the track were used as playback in order to sync the action, and I attended the set too in order to pick up some foley from the people on set. Back in the studio in post production, I replaced a lot of the original libary sounds within the track with the foley I recorded on set, and that was about it… anyways, have look – it’s a complex idea to execute and it isn’t without its flaws but I learned a lot from the process and the end result was pretty cool.
I did the sound design on this, with awesome music by Biggi Hilmarsson through Leland music. When this advert came into the studio at Marmalade where I used to work, the sound from the shoot was mostly unusable, I think I ended up replacing all of it with my own foley and sound effects from our libaries. Check it out:[vimeo 39362320]
The sound design on this advert needed lots of crunch and so I employed a range of different distortion effects to various flame burst and burning sound effects, to help the tearing effect you see in the visuals:[vimeo 39361869]
To try and avoid using predictable whoosh sound effects I used vocals and burning noises to compliment the camera moves, and altered the pitch to certain elements to create a kind of doppler as the camera passes at certain points.
This was directed by Saam Farahmand, big props.