Category: Sound Design

Introduction
The sound for “A Sound Proposal” came together during our final exam, on 2. year at Sonic College, 3D sound. We were tasked with the challenge of re-designing the sound for the film and mix it in Dolby Atmos.

Sound Design of “Thunder Scene”
I created the sound design for the thunderstorm scene which was a really interesting sequence to make. Especially, when involving Dolby Atmos in the process from the beginning. I played a lot with how the rumbles of the thunder and the reverbs moves and reflects in the room. I had an idea where the first impact happens in the center speakers and the tale and reverbs of the thunder move down and around the hall. That really created an immersive and “real” experience. Thunder sequence starts at 01:52.

Sound Design of Dolby Atmos logo
I also created the Dolby Atmos logo which was a task were I could really play around and try different approaches. I wanted to have some texture in the beginning that sparks and kicks things of. Then there’s the explosion and the logo flying in from the back. Obviously, I had to translate that to Dolby Atmos and created the effect of things flying over the audience.

Composing
My role also included making two musical pieces. The first one is used in the beginning as “Chad” steps out of the car. The second is the music coming from the boom-blaster he’s holding in front of “Cassandras” window. The aesthetic of the sound is “modern American Pie”, which means that we were creating a sound that could draw some parallels between the two different decades.

To watch the short film Drengesind please visit Ekkofilm on this link.

Synopsis
In the province, Jonas lives alone with his father. He leads a carefree life, spending most of his time hanging out, selling drugs, and partying with his three childhood friends. However, Jonas has experienced a personal tragedy but suppresses his emotions because he’s afraid of losing face. During an eventful day, he has to confront his grief.

Role
I worked as an assistant sound editor and primarily focused on the first half of the film. I also recorded, performed and edited foley for the entire length of the film with Hans Hornbek.

Re-design of Podroznik

Inspiration
The overall idea for the sound was to create a mysterious and somewhat scary and dark sound that encourages the viewer to paint pictures in their head and imagine what the world looks like. The re-design is made with Hans Hornbeck and Anthon de Place from Sonic College.

Foley
My task in this project included recording and performing foley for the entire film. We started out recording footsteps with various different surfaces. We wanted the footsteps inside the train to be “woody” and “creaking”, to emphasize the old and mysterious train. We used a wooden board on top of a wooden box to make the footsteps sound heavy and a bit hollow. To accentuate this, the footsteps are dubbed with a deeply transposed sample of the footsteps.

Ambiences
The ambience inside the train is dark and uses wind and drones to symbolize the “unreal” universe the movie takes place in.

Later in the film when the protagonist finds himself walking around in a field next to a forest, the ambience changes its character into a realistic sounding world with birds singing and trees rustling in the wind. As he start walking and approaches the forest, the ambience starts changing.

Sound Design
Wind chimes fades in from distance and creates a dreamy suspense that lures him into the woods.
Drones and chaotic strings creates a suspense that leads up to him finding a man hanging from a tree. This is the movies climax and also where the sound is on its max. The sound rises in intensity and a fog horn fades in from distance. We created the sound this way to blur the viewers perception of reality. Is it a dream, flashback or a vision of the future?

Dolby Atmos
The film is mixed in Dolby Atmos in the cinema at Sonic College. We all tooks turns and fine tuned the pannings we had done in the editing fase on our own parts in the film.

Final Thoughts
It was a fun project to work on as we got to experiment with designing fun sounding foley and in general had time to experiment with ambiences and the dark sound design in the film.

This short film is a short film created by the film school 18Frames as their final graduation film.

Synopsis
Noah (25) is desperately trying to hide his addiction to porn. With a girlfriend who only wants to be close to him, it’s becoming increasingly difficult to maintain a loving relationship, while holding her at arms length. Noah decides to seek help for his addiction, but in his desperate attempt at recovery he ends up pushing those around him away, leaving him more isolated than ever.

Role
My role in this project included sound editing and foley on various parts of the film. We were two sound editors working on this project so we decided to split it in two which means that I mainly worked as a sound editor on the last 10 minutes of the film.

Storyline
A dysfunctional relationship between two women is brought to a head one fateful night, and the decision becomes a matter of life and death. We are witnessing an absurd power struggle – because how do you actually win over yourself?

Role
For this project I was in charge of recording, performing and editing foley for the short film “Ring Igen Hvis Det Bliver Værre”, with Jens Bjørn Troelsen.
We mainly focused on creating sounds for footsteps, clothing and specific objects such as keys, hair and other objects. It was a very project to work on and we had a lot of fun trying different approaches and techniques to get the best sounding foley.

As we finalized recording foley we sat down to prepare the foley project by timing and choosing audio bits and in generel polish the audio and the session in general to make it ready for the mixer to import to the final session.

https://vimeo.com/857132442/9a929177d2

Synopsis
“ORATIO” is about an elderly man named Erik. Erik lives alone in a small house in the countryside. He suffers from dementia, which leads him astray. We follow him as he receives a visit from his home caregiver, Mette, while he writes a letter to his wife, Solveig. We also see that his mundane daily tasks are challenged by his fragmented perception of reality. Writing is crucial for Erik. It’s his anchor, keeping his memories alive.

At the beginning of the film, we see Erik’s world from an outsider’s perspective, as observers. This changes when we reach the turning point of the story, after which we experience the rest of the film from his perspective.

In a moment deeply affected by dementia, Erik forgets where he placed his papers and accuses the caregiver of taking them, fearing the loss of his memories. This leads to a rage episode, where he turns his house upside down.
During one of these episodes, he places the papers in his car. After this episode, he has a moment of clarity where he is lured to his car. He gets in and realizes he left the papers there. This is a monumental release for Erik as the text to Solveig preserves memories from a time when she was still alive.

Sound mixer / Boom operator on set
My work on set evolved getting the best sound possible from the actors and the environment. For all scenes I placed a placement microphone on a spot to get a sense of originality and real sound from set. Additionally, this created a good starting point for our work in post-production.

All actors were miked up with Wisycom lavelier omni microphones that I hid under their shirt or wherever suited the situation the best.

In one scene the protagonist sits at a table with his back turned at the camera. He’s wearing a white tanktop and I couldn’t place the laverier as you normally would under his shirt. So I had to stick the microphone to the table he was sitting at and place the transmitter in a small drawer in the table.

Considerations
One thing I learned as a sound mixer and boom operator on set was to be creative and to find solutions. The most important thing is that the sound is captured and sounds good so you have to be creative to make that happen.
It was a really exiting and fun project to work on with a lot of possibilities to grow and learn.

Resume
In this intense podcast, “Trapped in Dubai”, which is based on a true story, you’re diving into a real-life nightmare of a young Danish/Kenyan woman. She’s on her way from Nairobi to Copenhagen but gets stuck in Dubai during the worst of the Covid-19 pandemic. The story unfolds against the chaotic backdrop of the pandemic, showing how authorities abused their power to make money.

Our main character gets hit hard. She tests positive for Covid-19 in Dubai, which lands her in a hotel room for a torturous 14-day isolation. Despite her protests, she’s kept there, trapped in fear. The people in charge are pulling strings, manipulating her situation, all while the world is dealing with the pandemic chaos.

When she finally makes it back to Denmark, a PCR test reveals she never had Covid-19 in Dubai. It was all a scam. She was falsely accused, held captive, and exploited by people trying to profit from the pandemic. The story uncovers this dark scheme, revealing the shocking truth behind her nightmare.

Role
This podcast was created with my study group at Sonic College during our first year. We all individually helped sound editing and designing sound bites for different scenes in the podcast. I mainly focused on recording the voice actor and creating ambiences and sound editing throughout the story.

Podcast made as part of the “Lydfortælling og Ledelse” exam on the 3rd semester at Sonic College, with my study group.

Introduction
The episode “Plastik Feber” takes place on Fanø where we examines the big issue we face with microplastic in the ocean and in nature. We’re walking the beach with Kim Fischer from “Ren Strand Fanø” who demonstrates how big of a problem it really is.
We’re also talking with Henrik Beha Pedersen who is the founder of Plastic Change and gives lectures on the environment, the world’s oceans and the many challenges we face with plastic.

Role
My role in this production expanded across multiple areas. Firstly, researching the story and subject we wanted to portrait, including contacting Kim Fischer from “Ren Strand Fanø” and an expert in microplast “Henrik Beha Pedersen”.

While at Fanø, my role was to record ambiences and specific sounds we could use in post-production. I mainly used a Zoom H5 to record stereo ambiences.

Jingle
Working in post, we all had different task. I made sound design for different sections throughout the podcast and also composed the intro/outro jingle, including various breakers. Check out the example below.

Composing the jingle I wanted it to have a fresh, natural and organic feel. I used foley recordings for percussive elements and field recordings of wind, birds and different ambiences to create an image-creating experience that draws parallels to the different episodes in the series.

Introduction
This project is the result of one of the project I made in 2021 for my Sonic College application.
I have re-designet the sound of the TEVA x Han Kjøbenhavn promo film from 2016. I have designed all the sounds and composed the score. I recorded the foley in a forest with dry branches and leaves and recorded ambiences of the ocean at Vig beach in Denmark.