TV & Film

It’s 1998 and 17-year-old Videoland employee, Hayley, has just come out. Sort of. She’s pretty sure she’s a lesbian, but she needs help figuring out exactly what that entails. We had a blast working on the sound design and original score for this online series. The score was heavily inspired by romcoms of the era, leaning into light string pizzicato with world percussion for the comedic scenes and romantic swells with tinkling piano for the emotive moments. As the show is set in a videostore, this called for authentic movie scenes that play throughout. The sound designers had a blast creating fake movie scripts and acted out fake movies to play in the background.

Volcano Man explores the relationship of Richard and his son James after a tragic loss. Told through home videos shot by Richard over decades, the film weaves through the tapestry of his life from rock photography to unfathomable grief. Our composers Adam Moses and Jeremy Richmond created a beautiful score that carried us through the highs and lows of Richard’s life and James’ story. Volcano Man had its World Premiere at the 70th Melbourne International Film Festival as part of the MIFF Premiere Fund 2022. The entire soundtrack is now available on Spotify.

Filmed over the Australian summer break - between the end of high school and the start of a new year - EIGHTEEN acts as a time capsule, documenting various eighteen-year-olds and high school graduates at this specific moment in their lives. Commissioned by Trust and directed by Lucy Knox, the film blends striking visuals and personal reflections to capture the collective hopes, dreams, and fears of a generation stepping into adulthood.

Director Luke Bouchier briefed the sound design team at Rumble to craft an intense and violent soundscape that at times has you on the edge of your seat and then has you blown backwards through the intensity of the sound. The team worked with an armourer in Russia to record real gunfire that was then mixed and treated to give it extra weight and depth in the action sequences, while having an authentic feel to it. Employing all the disciplines of film, through dialogue editing and clean up, and foley, through sound design and final mixing the project for both online and cinema.

This brilliant short film definitely allowed us to think way outside of the box. With a sombre poem serving as a thread throughout the film, we had free rein to experiment. The main elements here are Water, Reverb, Gunshots and the spinning coin. The director wanted the coin to have a lot of weight and be ominous. We created this by layering the coin sections with low, thudding, gear elements and then distorting them harshly. The delayed whale sound was added as a small nod to the underwater tank scenes. The director loved our application of this so much that it became an integral theme throughout the film.

Three best friends, determined to become world champions at absolutely anything, are constantly distracted by absolutely everything. Every episode of the show was an epic sound design, dialogue edit and mix task. This show had everything, including an old man who ice skates everywhere (no ice needed), a mini mouth rapper and hoards of termites. We loved every minute of this rollicking good time

Is this the auto-biographical story from Matt Okine or pure fiction. He'll have to answer that for you. We loved being involved in this series from Aquarius Films, using a team of composers we created Matt Okine's sound track of hip hop beats mixed with emotional cues flowing through season one of The Other Guy.

Rumble founder and sound designer Tone Aston, co-created The Kazoops which was then brought to life by the ABC and BBC and re-voiced around the globe via Netflix. The show follows a curious boy and his pet pig as the investigate the wonders of the world. The sound design team at Rumble, created foley, sound design, and final mix across 78 x 7 minute episodes. The secret was to keep it simple but make it feel real, foley being the preferred method of sound design.

Sound designing Bottersnikes and Gumbles was like sound designing Mad Max every week. These tenacious little Gumbles and their arch enemies the Snikes were at war every week, and every week at war in a new way that has never existed before. Creating 52 x 11 minute episodes, we loved the challenge of creating the soundscape from silence to full scale anarchy. The team used foley, basically a junk yard of pots and pans and anything odd sounding, to full race wars sound design.

In the near future 2037, three former friends come back together in an attempt to beat the game. This was an epic, foley and sci-fi challenge for our sound design team. We created the sound for new machine's, old computers and games that didn't exist before the team at Ambience Entertainment imagined them.