+ READ MORE

This series is based on the motivic device of time, whereas every episode is framed by a ticking clock counting down to an inevitable action. With what seems like a format that would invite excitable music, big swells, and a loud payoff, we quickly learned that the grounded realism this series lives in rejected those, almost expected, tools prominently seen throughout the sound design world. In our opinion, that is precisely why this series is sonically unique - the soundscape we created aims to expose the characters by staying out of the way.

We painstakingly searched for sounds that reflected our environments in the most effective, visceral and realistic way. Everything needed to feel natural, diegetic, and within the ordinary confines of our characters' lives.

+ Excerpts explained:

Overslept - The excerpt we've chosen exhibits a ground up rebuild of an environment in post production. The scene we see was filmed without ANY sync sound on set, which introduced a challenge for us in post that required a rebuild of the scene from scratch, whilst still making it believable. All footsteps, traffic noise, vocal tracks, clothing rustles, key jingles, and more were dubbed after the fact. If you watched the excerpt prior to reading this...we hope we fooled you.

Morning Paper - We chose to include the first minute of Morning Paper to portray the development of an environment and character without the use of dialogue. Vocal tracks make character development more approachable, but in this case, we were left without conversation. No monologue to help us understand who this man is. Rather, we use his surroundings to build the perception of his character up. We had to ask ourselves questions like -- what music would he be playing in the background? Would he go so far out of his way to set up an extension cord to keep his coffee maker closer to his seat at the window? Is he the type of person to have a grandfather clock in his home? It was the use of these devices that helped us sonically frame who our main character is as an indivudual, and set a foundation for the plot of the story to build from.

Hitched - This film is all about the relationship between two characters -- Chelsea and her Grandmother. In attempts to get to a wedding on time, Chelsea must find parking on a packed street while her Grandmother back seat drives and attempts to pre-determine her every move. We chose the excerpt above to display how we used sound to build tension between the two characters, and accompany the clock counting down alongside the drama.

+ CREDITS

Overslept -

Directed & Produced By - Nathan Breton
Written By - Joseph Killeen
Produced By - Samantha Glovin
Co-Produced By - Joshua Pies
Assistant Director - Nikolai Basarich
Camera By - Andi Obarski
Assistant Camera - Charlee Harrison
Gaffer - Ben Hunt
Swing - Kristin Dushaj
PA - Mike McCabe
Editing By - Nathan Breton
Titles - Andy Sheffield
Color By - Evan Kultangwatana
Sound Designer and Mixer - Eric Brown
In Association With - C47 Film Associates

Morning Paper -

Directed & Produced By - Nathan Breton
Written By - Joseph Killeen
Produced By - Samantha Glovin
Co-Produced By - Joshua Pies
Assistant Director - Nikolai Basarich
Camera - Andi Obarski
Art By - Tanmaya Shekhar
Editing By - Nathan Breton
Titles - Andy Sheffield
Color By - Evan Kultangwatana
Sound Designer and Mixer - Eric Brown
In Association With - C47 Film Associates

Hitched -

Directed & Produced By - Nathan Breton
Written By - Joseph Killeen
Produced By - Neal Dhand
Co-Produced By Joshua Pies
Camera - Andi Obarski
Assistant Camera - Anthony Zagarella
Key Grip - Nikolai Basarich
Super PA - Jason Wilber
G&E Swing - Caroline Vana
Art PA - Larissa Keer
PA - Tomás Green, Ash Lavacca, Veronica Zin
Editing By - Nathan Breton
Titles By - Andy Sheffield
Color By - Evan Kultangwatana
Sound Designer and Mixer - Eric Brown
In Association With - C47 Film Associates