Sound Design


When Ryan Chong from BBH got in touch with Will early last year and they talked through the storyboards, Will knew it would be epic… helicopters, tanks, armies and fireworks – it reads like a sound designer’s christmas list! Our favourite challenges were re-creating the vast crowd chants in the parade scene and Will’s commander vocals (we thank ye gods for the Speakerphone, Altiverb and Decapitator plugins). Spending half a week recording foley at Goldcrest, surrounded by tool belts, guns and bits of broken glass was pretty fun too.

We built the soundtrack from scratch, starting with recording foley with artist Julien Pirrie at Goldcrest Films, to editing and building the sound design in Will’s cutting room. We recorded character dialogue and crowds and worked on early mixes at Factory Studios before completing the sound design and final TV mixes at String and Tins HQ and Soho Square Studios. Dolby 5.1 mixes are in progress so hopefully we will get to see it in the cinema too – Will did 5.1 premixes at Goldcrest and handed them over to the masterful Raja Seghal at Grand Central for a final dub. Eight months in the making, it has been awesome to see this project through from pre-production to final delivery, taking our work to some of the nicest studios in town.

We love the music, so props need to go out to Philip Kay the composer too. He’s a talented man so check his stuff out – he also wrote the award winning music for The Guardian’s ‘Three Little Pigs’ advert from back in 2012 amongst other things.

Directed by Rupert Sanders from MJZ, with the creative team of Daniel Schaefer, Szymon Rose, Jack Smedley and George Hackforth-Jones headed up by David Kolbusz, it was edited by Neil Smith at Work Post with visual post production done at The Mill.

Thanks a million to Ryan and the creatives Daniel, Szymon, Jack and George for having us involved – we had a damn good time working on it, check it out: