I just finished the sound design and mix for this, check it out:
It was great to be involved from the start – building a sound bed from the storyboards before the film was shot, recording all the dialogue dialogue and sound effects, through to mixing the final tv versions and supervising the cinema mix (by Jamie Roden at Goldcrest).
I worked closely with Sam Brock (head of radio at BBH) throughout the creation of the sound design, initially recording dialogue with my location kit around London and working remotely from my own studio. For the final dialogue recordings and sound effects work I dry hired a fantastic sounding Pro Tools room at Goldcrest Post attended by the whole creative team.
I recently finished this promo for director Anthony Dickenson – the challenge in the brief was to make it sound like a pre concert tune-up, unmusical but in a constructive way…
Most of the sound from the shoot was stripped out and re-recorded in my home studio. The tune-up was rebuilt using guitars, valve distortion, and pulling drum and keyboard sounds from my sampler. I close mic’ed some of my own gear to get the thick switch noises and brought this foley along the musical elements together in Pro Tools.
I took the session to Soho Square Studios where I did the final mix with Red Bee and Rainey Kelly in attendance.
BBH got me involved on this radio advert in order to seamlessly morph from Ben Pope‘s composition into the sounds of WW1. I took the high note of the violin part and morphed it into the sound of a whistling bomb, and from that point onwards I edited the sound of rocket launches, machine guns and explosions to match the rhythm of Ben’s timpani parts that preceded it… that was the idea anyway.
This advert was directed by Anthony Dickenson from Pulse Films, with visual effects work by Time Based Arts.
The sound effects work for this involved a lot of laser noise making, mainly using various synth noise generators, and the Ohm Force filter plugin ‘Quad Fromage’ which has a great comb filter. The comb filter creates most of the metallic movement of the laser noises, blended with electricity fizzling and burning noises to give it that organic edge.
Other than all the synthetic stuff, I recorded a whole load of foley with Graeme Elston at Jungle Studios, and took it back to my studio for editing and mixing. The foley was essential to give the film that hyper-real quality, and having lots of clean layers of sound gave me more control over the dynamics.
I tried to blend the sound effects with the track by 16bit, so that hopefully the audience see them as one entity… anyway 16 bit are amazing producers, check their myspace!
This was directed by Chris Cairns for the danish Agency, ‘Thankyou’. Chris and I have collaborated on quite a few musical projects over the years but this one was a bit different – the final work was always going to be written by Trentemoller (check out his stuff if you haven’t heard it, it’s brilliant).
Initially I wrote a skeleton track for Chris so that we could time out which order his storyboards would be cut. Mr Cairns’ idea was to link certain groups or individuals within the film with parts of the track, so with this in mind I created clear themes in the drums, bass and lead parts that would work with certain mechanisms within the film. This initial skeleton was then passed on to Anders Trentemoller so he would have a template for the visual edit when composing the final music.
During post production and as I built the sound design elements within the film, the visual effects team (Time Based Arts) and I shared our work constantly. This process helped generate some of the effects that were created, in particular the style of the digital reduction of the dancers. A lot of the effects I made were using the Sonalksis bit crushing plugin amongst others, and the new GRM Tools plugins that came out in 2011 – they are quite obscure and can produce some fairly nasty sounds!
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.
Aside from working on the sound design on this film and helping produce the music with drummer Will Clark, vocalists the Foreign Beggars and the Scratch Perverts, I have a cameo part as the audio technician… check out the hair (ok it was a while ago).
Directed by Chris Cairns and produced by Bonnie Anthony at Partizan, this film was a true labour of love and well worth it.
Check out this fairly odd remix for shits ‘n’ giggles (nothing to do with me I hasten to add).
This is a real golden oldie, directed by Team Stush at Partizan back in 2006… half of them got food poisoning in the making of this.
I took the classic track ‘Hooray For Hollywood’ and remixed it adding a squelchy bass and some extra drums. Then I sampled the end of the track and automated the end point of the loop in Kontakt (sampler) until it became a pitched note, finally squawking to a finish as the fruit dance enters the can. Add sfx et voila! If that didn’t make sense, watch the film and that should clear things up.
This film was part of a series of films imagined and directed by Jane Laffey at Nickelodeon. I wrote the music and did the sound design and mix – it was a real pleasure to work on such inspiring stuff.
The voice is a recording of a kid and their true story, captured by Bold Creative and then animated to bring it to life. The film was recognised with a Bafta and Promax Gold award, testament to a great bit of film making!
My sound track for this mood film for Nike (directed by Saam Farahmand) is made of very low frequency stuff so turn it up or stick your cans on. Most of the sound was created by playing a couple of hardware keyboards live to picture, fairly heavily distorted, with lots of automated plugin effects to create the movement, and an LFO on a low resonant bass sound, with several passes being mixed with eachother.