Bronze
Music & Sound
Sound Mixing
| Entrant: | Sine Audio Post Production, London |
| Brand: | Royal Air Force |
| Title: | "The Force Protecting Space / The Launch" |
| Corporate Name of Client: | Royal Air Force |
| Agency: | House 337, London |
| Executive Creative Director: | Jo Moore |
| Creative Director: | Christopher Ringsell |
| Creative Director - Art: | PK |
| Copywriter: | Michael Arthey |
| Art Director: | Jack Tibbs |
| Agency Senior Producer: | Tash Dean |
| Agency Chief Strategy Officer: | Matt Rhodes |
| Agency Strategy Director: | Simon Butcher |
| Agency Account Director: | Olivia Conroy |
| Agency Account Manager: | Kelly Mahon |
| Production Company: | Stink Films, London |
| Production Managing Director: | Andrew Levene |
| Director: | Tom Green |
| 1st AD: | Justin Travers |
| 2nd AD: | Ellysha Elgon-Smith |
| Executive Producer: | Blake Powell |
| Producer: | Sara Nouman |
| Director of Photography: | Joe Cook |
| Production Designer: | Bobbie Cousins |
| Production Project Manager: | Alice Evans |
| Production Assistant: | Thomas Bergman |
| Post-Production Company: | Time Based Arts, London |
| Post-Producer: | Tom Manton |
| VFX Company: | Time Based Arts, London |
| 3D Lead: | Ian Baird |
| 3D Artists: | Maxime Ponsart/Daniel Kmet/Joe Ibbett/Ihor Obukhovskyi/Ogi Vukovic/Oliver Lemury/Jordan Coles |
| 2D Lead Artist: | Sheldon Gardner |
| 2D Artists: | Gary Driver/James Pratt/Jack Stone/Giles Hicks/Olivia O'Neil/Ralph Briscoe |
| Edit Facility: | Trim, London |
| Editor: | James Forbes Robertson |
| Editorial Producer: | Pia Ebrill |
| Colorists: | Simone Grattarola/Max Ferguson Hook |
| Sound Design Company: | Sine Audio, London |
| Sound Design Producer: | Julian Marshall |
| Sound Designer: | Phil Bolland |
| Sound Engineer: | Phil Bolland |
| Sound Mixer: | Phil Bolland |
| Audio Engineer: | Phil Bolland |
| Scored By: | Walter Mair |
| Casting Agent: | Claire Curry |
Description:
From there we built upon the FX bed with hyper real sound design layers to create a larger than life trailer style SFX bed. The FX we sourced for the vehicles and planes etc were all carefully selected and true to the model and type in the film.
The mix was designed to build to a crescendo before we cut out into space and drop to silence before seeing space debris narrowly avoid a collision with a satellite. The space elements were fun to create as we had to think outside the box in terms of how to create these.
In the end it was a mixture of foley recorded sounds and sourced FX that were filtered to give a feeling of what space may sound like (when in reality there would be no sound!).
Finally we treated the countdown narration that underpins the film with a space radio effect that guides the mission.