Cold wind, braking ice and dynamic ski jumps. The newest movie of Sebastian Linda invites the viewer to journey to Canada´s most beautiful places during the month of March.
One epic shot fellows another. Epic ambient pictures combined with hitting movements. At Home Outdoors transports the feeling of power and breathlessness.
I had the honor to create the sound world that brings this movie to life. Detailed with sounds made from scratch, combined with electronic elements and edited atmosphere sounds from libraries.
Our concept was to create a very detailed layer of different sounding situations. Loud and full of energy at the same time. The sound design is on high level. Not typical but we love it. For us sound design is not only an Add-on. It’s a stand-alone part that creates the feelings that belong into a movie.
Process of searching the right sound
A sound that fits perfectly is hard to find. Most of the time it’s trial and error. Taking sounds, editing, transforming – it’s an ongoing process. Sometimes it’s an accident. I’m playing around with some snippets and sound, put them on my timeline without looking at switch time position, listen to them and it fits really well.
But often it’s a rocky path. Using a lot of clip effects. My favorite creative tools are the stuff of SoundToys. They’re perfect for manipulation.
One part of this process is the creation of a solid layer of atmospheres. Strong winds, falling snow and weird noises. Often I use some noises I recorded and edited with the sample engine of Spectrasonics Omnisphere.
Layering, layering, layering. To create a really phat sound it’s often needed to layer a low, middle and high sound. In this way I’m pushing up some kicks and hits for more punch.
For some silent moment I tried to integrate some little cracklings and noises to fill up the “holes” and make them more lively and interesting.
For more dynamic sound editing it’s always helpful to use some pitch. My favorite: Elastique Pitch from zplane. With this technique it’s possible to create some interesting movements on Pads.
One other technique: Panning. Sounds basic but with dynamic panning you increase dynamic in static sounds. It’s also powerful when combined with filtering.
A really good point I learned in this project: Automate the music of the sound. It’s really important to make the music more dynamic with level control. Mastering compresses the music to a maximum level. With some on point automation of the track level the music regains some dynamic.
For some special moments I used reverse impacts or similar sounds to build up detailed climaxes. It’s a good dramaturgic tool. Grabbed from music production.
To make all separately audible I published one version with different layers.
Hope you like my view into the production. If you like it let me know, leave a comment and share it. Thanks 🙂