Friday, March 11, 2016

XBOX: Quantum Break Trailer in 5.1 Surround

There wasn't much sound design needed on this epic time-warping trailer for XBOX's new hit Quantum Break, but that's ok because we gave it a killer surround mix! The spot features a cover of Nirvana's Come As You Are, a tune I love and grew up with. We had all the music splits for the cover, so it was easy to fly synth pads around the room, quadruple the guitars and really immerse the listener in the dark moody score. Agency 215 was the creative team behind the piece, and all XBOX spots we do together are mixed in 5.1 for surround playback on the XBOX platform itself, which broadcasts 6-channel audio.

Friday, February 5, 2016

FitBit "Dualities" - aired during the Super Bowl!

This spot was originally produced by SF Agency Argonaut for the 2016 CES show to reveal a new product, the FitBit Blaze. The challenge for this video was to show people as two characters: regular life and "beast mode" -- when they are exercising. We used sound design to make the cuts hard and exciting, with the music carrying the spot along. Eventually FitBit decided to air the spot during the Super Bowl!

Tuesday, January 12, 2016

EA Origin Access with Bill Nye!

I got to record one of my childhood heroes, Bill Nye! SF Agency FCB created a series of videos promoting EA's online gaming service Origin Access. This series of spots was also sound-design intensive. We created a palette of futuristic sci-fi sounds for all the crazy floating graphics around Bill in the spots. There's also a few sections where multiple video game screens are floating around. It was a complicated task to keep it from sounding too messy. You may notice different sounds each time you watch! I also created most of the music for the campaign: The agency had an excellent piece of stock music for the beginning of each spot, but I composed the sound bed that lays under the majority of Bill's act, through to the end. Watch Bill's other spots for Origin Access as he explains The Theory of Relativity, and Darwin's Theory of Evolution (as they apply to video games, of course!)

Thursday, January 7, 2016 presents "Dairy Bucket" and their customers

Muh-Tay-Zik | Hof-Fer is a San Francisco agency well known for its silliness in advertising. This spot about imaginary startup Dairy Bucket and their obnoxious customers was a joy to work on. It's funny, with some mixed dialog and easy sound design. Read the blog post by Christine EK, Director of Campaign Marketing at

Thursday, December 3, 2015

Bleacher Report: Sports remix of classic 1999 Blackalicious hit

Barrett SF brings exciting new life to this classic hip hop hit from 1999. The song runs through the alphabet and gets faster and faster towards the end. Now it has a new twist - all the lyrics are sports-related, to promote sports app Bleacher Report. The video is fantastic as it changes animation styles 26 times (once for each letter, two bars of the music). Visually stunning and musically entertaining, this ad is actually getting great feedback on YouTube. The "remix" is even available for purchase on iTunes, or download on Spotify. We mixed and remixed this music for a month or so, going through different versions of the lyrics and incorporating gobs of sound design for each little micro-vignette. We also produced a handful of cut-downs which posed the biggest audio challenge: editing music that gets faster and faster with every bar! Shoot Online gave us a charming write-up.

Monday, October 12, 2015

Assassin’s Creed: Syndicate -- Cinematic TV Spot

Barrett SF has been doing some incredible work for video game producer Ubisoft. This spot introduces the next chapter in the Assassin's Creed franchise with motion-capture animation, breathtaking fight scenes and a cinematic score that is sure to motivate the game's fan base. The mix for this spot was built on over 100 separate audio tracks! We received very thorough sound design and music stems to balance out. I added some additional sound design for our taste, and had to execute some clever music edits. The dialog lip-sync was a challenge as well but in the end, the spot looks and sounds incredible. We got a write up with full credits in The Next Gag. Interestingly, the spot I actually mixed for Barrett was a full :60, which was later cut down to the :45 that ended up being broadcast.