Had a blast working on this presentation!

Some key points/sounds:

Created several "fly by" sounds to give a more immersive effect for passing objects, scene cuts, etc. These were mainly sourced from the breath, flashbulb, gas stove, and cannon blast source material; and created using a mixture of Soundshifter, SuperTap, MetaFlanger, Doppler and H-Delay.

Processed racing source material with Doppler to create movement of the sounds within the stereo field. I layered these with some tire squeals (derived from pitching and extending the vehicular braking and pig squeal material) fly by sounds to express a sort of "in your face" sense of speed.

Chose the puma growl, pitched down and manipulated with H-Delay, to create the more guttural sound for our flaming exhaust. This was also layered with some EQ'd fire crackling for passing through the flames.

Used a combination of reversed bell and chime material with a touch of reverb to create the buildup and snap the viewer into the next flurry of scenes.

The camera transition audio was sourced primarily from the flashbulb material, layered with several of the vehicle impact sounds that had been reversed and processed with H-Delay, SoundShifter and reverb.

For the climactic crash scene, I really wanted to convey a sense of heavy, winding down "slow motion". To accomplish this, I heavily processed the engine source materials with SoundShifter, graphically creating the pitch and time decrease. Renaissance Bass was also used in enhancing the bass for this effect. I also used these tools on the DryIceEerie audio to add some more "metallic" interest to our crushing vehicle.

Taking various cuts of the glass breaking and windshield smash material, I added some subtle traces of glass passing by and mixing in with the debris field. This was done by manipulating the pitch of the glass with SoundShifter, adding back some brilliance with MetaFlanger and using some reverb to help create a bit of presence for the floating shards.

The debris field was created with the ice cracking and dirt source material, processed with H-Delay and SuperTap for the floating debris.

I really wanted to achieve a smooth and climactic transition back into "reality", and took the same concept behind creating the slow down of the crash, and used it again to create the speeding up of time, culminating with a the next driver tearing away.

I thought it would be really interesting to have a sort of "kicking back in" sound to complement the low end buildup of the engine. To accomplish this, I took a cut of the engine audio provided, pitched it down with SoundShifter, and gated the track. I then used an external synth to trigger the track (alone, no added synth), slowly adjusting the LFO rate to make this buildup leading into the climax of the trailer. The end result of this audio was then ran through MetaFlanger to help give these small cuts some presence in the mix.

The ending vehicle run was constructed from the GnatByLow audio. I subtly layered in some of the windmill and gas stove material, pitch adjusted with SoundShifter, and processed with SuperTap and MetFlanger to add some interest in the vehicle ripping away. I also layered in the dirt sfx, and ran everything through Doppler in order to have the sound fly by the viewer.

For the emblem, I took some of the fly by sounds, extended the length using SoundShifter, gave it a more "musical" quality with Morphoder, and applied some reverb to give it some space....Ending in a swell derived from the thunder source material that was processed in a similar fashion.

To finish it all up, I ran the mix through some light compression, topping it off with the L3 Ultramaximizer.

That about covers the concepts and thinking behind my sound design...Check out some of my other work at derrickbozkurt.com!

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