HSBC, No Fixed Address
Argos: “Festive Fever”
RNIB: “Before You Ask”
Very: “Let’s Make It Sparkle”
British Gas: “Peak Save”
Sky Bet: “Wondersub”
Sky Cinema: The Cinema Trip
Princes Tuna: “Fish For Greatness”
Sky Sports: “Cricket World Cup”
Sky Sports: “Ryder/Selheim Cups”
Walkers: “We Love Potatoes, So You Can Love Walkers”
Vodafone Red: “Family Plan | Concert”
Vodafone Red: “Family Plan | Violin”
Sky Sports: “US Open”
Sky Sports: “US Open | Opening Sequence”
Sky Sports – The Greatest Show On Earth
Currys – Security
Sky Sports: – Women in Sport
Nike – Nike World Cup 2023 | Sophia Smith
Gigaclear – The Giganaut
The AA – Always Ahead
Strongbow – Fancy Dress
Argos – There’s More To Argos
Hypnocat: Recycle Your Electricals
A Kids Free Break
The Drop Off
What Fills My Heart?
What Fills My Heart?
Race
Feast Beasts
Find The Right One
Control
Christmas
The Secret Santa Postal Service
Avalanche
There’s Some Hockey In You
Aunt Helga
Lil Mbappé
See Differently
Rise of the Kids
Gym Face
You Can Handle Anything
Flight of the Pension Bee
Fountain of Life
Your World. Nothing Else.
Samsung Galaxy Buds “Play”
Samsung Galaxy Buds ‘Peace’
Samsung Galaxy Buds ‘Love’
Samsung Galaxy Buds ‘Joy’
Samsung Galaxy Buds ‘Flow’
Samsung, Awesome
OnTheMarket, Get Real About Moving
Malibu Rum, Welcome To Malibu
Walkers, Only on Holidays
Work we love - DHL, Bond
Celebrations “Bring The Whoop Whoop”
Samsung “Holiday Opens With Galaxy”
Lexus Es “Stressed”
Nike Kids “Play Lab – Mbappe”
Facebook, Raybans
Work we love - Heineken, Daniel Craig Vs James Bond
Sound Design: Raja Sehgal
Client: Heineken
Creative Agency: Publicis Italia
Creative Talent: Bruno Bertelli, Cristiana Boccassini, Marco Venturelli, Luca Cinquepalmi, Luissandro Del Gobbo, Fabrizio Tamagni, Michela Talamona, Gustavo Lacerda, Mihnea Gheorghiu, Milos Obradovic, Sandra Bold
Director: Miles Jay
Ionos, Aunt Helga
Work we love - Nike, Victory Swim
Nike: Victory Swim, awarded a Bronze Clio for Sound Design and a Bronze Cannes Lion for Diversity and Inclusivity, was no mean feat to deliver. Due to lockdown, Raja Sehgal recorded the dialogue remotely with the actor who was based in Egypt. The majority of the underwater sounds you hear were created using a special underwater microphone called a hydrophone. (Raja’s pond stood in for the Red Sea.) These recordings were then manipulated with the music stems working to tell the story which resulted in a really beautiful piece of work.
Creative Agency: Wieden & Kennedy-Amsterdam
Executive Creative Director: Eric Quennoy
Executive Creative Director: Mark Bernath
Creative Director: Evgeny Primachenko
Creative Director & VFX Supervisor: Craig Williams
Art Director: Zeynep Orbay
Copywriter: Macie Soler-Sala
Copywriter: Jake Barnes
Copywriter: Kervins Chauvet
Broadcast Producer: Stijn Wikkerink
Film Production: Rattling Stick
Director: Sara Dunlop
Editing Company: Trim Editing
Editor: Dominic Leung
Post Production: Glassworks
Music: KOM
Audio Post Production: Grand Central Sound Studios
Sound Design & Mix: Raja Sehgal
Work we love - HSBC, No Fixed Address
The unique creative treatment involved a theatrical stripped back set, creating a sense of bleakness. The sound therefore needed to be approached in such a way as to allow the viewer to step into the vicious circle.
The creative team wanted the voiceover to be machine-like, devoid of emotion as if it were the voice of ‘the system’. Renowned actor, Juliet Stevenson was cast and, after her voice was recorded down the line, it was pitched to make it feel monotonous with reverb added to give a sense of detachment.
We visited the film set to record the mechanical sounds of the revolving stage and foley recordings were layered into the final mix.
The third element was the music, purposefully manipulated like a scratched, stuck record ensuring a repetitive undertone. It was important that this did not dominate the mix but that centre stage was given to the vocal performance.
Very, The Throne
Work we love - Childline, Nobody is Normal
This beautiful campaign, in collaboration with The Gate London, has picked up multiple awards including 3 D&D pencils and 5 Cannes Lions, including a particularly proud moment for us, a Silver Lion for the Use of Adapted Music. In a Pandemic year when home life was incredibly challenging and sadly often unsafe for many young people, Childline’s campaign became even more paramount. The client came to us with a beautiful stop-motion animation and no pre-existing sound, but a clear brief that they wanted to encapsulate anxiety. Gary expertly designed unique sounds to bring the puppetry to life, using distinctive crackling, fizzing effects all mixed to the Radiohead classic ‘Creep’. This is a true example of how sound completes a piece, and allows the original message to be conveyed in what is an important piece of work.
Creative Agency: The Gate
Chief Creative Officer: Lucas Peon
Creatives: John Osborne / Rickie Marsden / Sam Whatley
Agency Producer: Susie Innes
Production Company: Rowdy & Blink
Director: Catherine Prowse
Rowdy Producer: Daisy Garside
Blink Producer: Josef Byrne
Audio Post Production: Grand Central Sound Studios
Sound Design & Mix: Gary Turnbull
Audio Producer: Molly Butcher
Work we love - Argos, The Book Of Dreams
This feel good campaign has music absolutely front and centre and has picked up multiple awards for Munzie’s sound design and mixing. The choice of track was essential. There had to be drums – as the father spots his dream drum kit in the Argos catalogue – but also be able to create an emotional arc that would end on a high. Achieving the end result was no mean feat and with no voiceover to narrate the advert whatsoever, perfection was arguably even more important. The epic father-daughter drum duet meant that the original backing track, Simple Minds’ Don’t You (Forget About Me), needed to be extended and a fill needed to be recreated. With no existing stems for the original track, the baseline and synth, a Roland Jupiter 8 synthesiser straight out of the 80s was hunted down and delivered to the studio. Finding the exact pre-set was tricky but within a couple of hours a new synth section was recorded. The result is a seamless track and spot that can’t help to put a smile on your face.
Sound Design: Munzie Thind
Client: Argos
Creative Agency: The&Partnership
Creative Team: Sarah Golding, Yan Elliot, Micky Tudor, Danny Hunt, Ludo Thomas, Arthur Harry
Director: Traktor
Klarna, There’s a Smarter Way to Pay
The Twilight Saga ‘Midnight Ride’
The Twilight Saga ‘Midnight Ride’
Midnight Ride encapsulates the breadth of our capabilities in immersive sound. Framestore brought us on board to help create a group VR experience in one of the most hotly anticipated theme park launches in Zhuhai, China, Lionsgate Entertainment World. They devised the amazing real-time virtual media and we designed and integrated all of the real-time sound. Midnight Ride provides fans of the global phenomenon, The Twilight Saga, the unique opportunity to mount real motorcycles and become immersed in the Twilight world, joining Jacob Black and his wolf pack on an adventure through the forest before being hunted down by prowling vampires. We created a realistic representation of the ride in our immersive audio studio in London to ensure the sound would translate well once installed at the park in China, followed by two weeks on site in China to complete the work.
As each dirt bike was rigged with a hyper-directional loudspeaker, this gave each rider a unique aural experience whilst not isolating them from the sounds (and screams) of other players around them. With the deployment of gaze detection, real-time mixing occurs throughout the experience whilst the cinematic music is programmed to ensure key moments always hit specific points within the flexible game-engine narrative. This project won the Outstanding Achievement in the prestigious Themed Entertainment Awards.
Walkers, Taste Icons
Facebook, Good Ideas
Droga5 and Facebook sought to bring personalised ads to life in support of small businesses with this rhythmic, poetic piece. Grace Jones’ electro-robotic voiceover was recorded remotely in London via Jamaica during the Pandemic, with all sound timed to the beat of the chosen track.
Sound Design: Raja Sehgal
Client: Facebook
Creative Agency: Droga5 Ny
Creative Team: Thom Glover, Kia Heinnen, Ben Brown, Dave Canavan, Patrick Horton, Jackie Moran
Director: David Wilson
Work we love - HSBC, The New Different
Creative Agency: Wunderman Thompson
Chief Creative Officer: Steve Aldridge
Creative Director: Mike Watson
Creatives: James Humphreys, Craig Hunt & Rob Bovington
TV Producer: Tash Bedford
Production Assistant: Henry Wiltshire
Strategy Director: Omar El-Gammal
Strategist: Eleanor Metcalf
Business Director: Claire Chislett
Account Director: Luke Thornton
Account Manager: Amirah Hajat & Olivia Taylor
Creative Producer / Project Manager: Tom Lawrence
Production Company: Merman
Director: Will Clark
Executive Producer: Siobhan Murphy
Producer: Debbie Carmichael
Director of Photography: Dan Holland
Production Designer: Simon Davis
Editor: Joe Wilby @ Marshall Street Editors
Edit Producers: S.J. O’Mara / Beanie Goldsmith
Post-Production: Coffee & TV
Grade: Simona Cristea
VFX: Katie Rhodes
Post Producers: Sarah Walsh / Joss Brindle
Audio Post Production: Grand Central Sound Studios
Sound Design & Mix: Munzie Thind
Audio Producer: Molly Butcher
Music Agency: CORD Worldwide
Music Supervisors: Seb Whyte & Alison Butters
Nike, Write the Future
We’ve worked with Nike for over 20 years and have been integral to much of their iconic work that has continuously broken the barriers of TV and cinema commercials. The most awarded spot of all time, ‘Write the Future’ exceeded 300 audio tracks (a record at the time) and involved multiple scenes – live action and animation – that needed to be seamlessly blended together. Put simply, the extent of the sound design had never been heard before and is still considered one of the greats.
Title: Nike ‘Write The Future’
Client: Nike
Director: Alejandro Gonzalez Inarritu
The unique creative treatment involved a theatrical stripped back set, creating a sense of bleakness. The sound therefore needed to be approached in such a way as to allow the viewer to step into the vicious circle.
The creative team wanted the voiceover to be machine-like, devoid of emotion as if it were the voice of ‘the system’. Renowned actor, Juliet Stevenson was cast and, after her voice was recorded down the line, it was pitched to make it feel monotonous with reverb added to give a sense of detachment.
We visited the film set to record the mechanical sounds of the revolving stage and foley recordings were layered into the final mix.
The third element was the music, purposefully manipulated like a scratched, stuck record ensuring a repetitive undertone. It was important that this did not dominate the mix but that centre stage was given to the vocal performance.