Silver
Music & Sound
Sound Mixing
| Entrant: | Wave Studios, New York |
| Brand: | SickKids Foundation |
| Title: | "Heal The Future" |
| Corporate Name of Client: | SickKids Foundation |
| Client Company: | SickKids Foundation, Toronto |
| Chief Marketing Officer: | Heather Clark |
| Agency: | Cossette, Toronto |
| Chief Creative Officer: | Sabaa Quao |
| Executive Creative Director: | Anthony Atkinson |
| Senior Creative Director: | Greg Kouts |
| Creative Directors - Art: | Justin Luu/Andy Ng |
| Creative Directors - Copy: | Lorne Heller/Kay Benedek |
| Agency Producer: | Heather Blom |
| Agency Strategy Director: | Geraldine Tixier |
| Production Company: | Spy Films, Toronto |
| Executive Producer: | Marcus Trulli |
| Line Producer: | Amalie Bruun |
| Director of Photography: | Pat Aldinger |
| Production Designer: | Hope Little |
| Gaffer: | Neil Munro |
| Grip: | Blake Ballentine |
| Edit Facility: | tenthree, London |
| Sound Design Company: | Wave Studios, New York |
| Sound Design Executive Producer: | Vicky Ferraro |
| Sound Design Producer: | Eleni Giannopolous |
| Head of Sound: | Aaron Reynolds |
| Sound Designer: | Isaac Matus |
| Sound Engineer: | Isaac Matus |
| Sound Mixer: | Isaac Matus |
| Audio Engineer: | Isaac Matus |
| Music Production Company: | Vapor Music, Toronto |
| Music Executive Producer: | Kailee Nowosad |
| Music Lyricists: | Billie Eilish/Finneas O'Connell |
| Music Performed By: | Billie Eilish |
| Song Title: | Everything I Wanted |
Description:
The story was based on Nathan, a real SickKids patient who had a heart condition called hypertrophic cardiomyopathy. While SickKids knew about his genetic condition, it did not, at the time, have the tools or technology to understand that he was at high risk for sudden cardiac death.
Tragically, Nathan passed away at the age of 10 in the schoolyard during recess. The film showed how with PCH, stories like Nathan’s could now have a different ending, dramatizing SickKids’ ability to search the past, analyze the present, and heal the future for a child.
To support SickKids’ shift, we evolved the SickKids VS. brand tone by leaning into a visual energy and sense of optimism to lay claim to SickKids’ fight for a brighter future with PCH. We leveraged sound as storytelling shorthand to propel the narrative and create an enticing, sonic world of PCH that illustrated how it enabled SickKids doctors and researchers to search the past, analyze the present, and heal the future of SickKids patients.
We used sound design to serve as an auditory indication of what was happening in the story, such as preempting visuals with tell-tale sounds — like rattling wheels of a gurney and the urgent voices in the hospital corridors. We also made the sound of PCH a key element of our soundscape, giving it an unexpected and very specific sonic character.
We utilized heavily treated vocals that felt synthesized, while subconsciously still human, and the sound of organic elements, digitally formatted to create something new, much like the process of PCH itself.