OUTER PEACE
SOUND DESIGN - ADVERSITY - CONCEPT​
2022
THE ORIGINAL VIDEO WAS PRODUCED BY ARC'TERYZ COMPANY FOR COMMERCIAL PURPOSES. THIS FILM AIMS TO PROMOTE THE SEARCH FOR OUR MORE INTIMATE REALITY IN CONTACT WITH NATURE.
WITH THE OUTER PEACE CAMPAIGN, ARC'TERYX INTENDS TO REMOVE BARRIERS SO THAT EVERYONE CAN EXPERIENCE THE TRANSFORMATIVE POWER OF NATURE. THE COMPANY THUS PROMOTES AN ESCAPE TO THE ESSENCE ITSELF, AWAY FROM HECTIC MOVEMENTS AND URBAN CHAOS. MOVING AWAY FROM OUR SCREENS TOWARD A DEEPER CONNECTION WITH OURSELVES AND EVERYTHING AROUND US.
WE ARE ASKED TO SLOW DOWN, AND NOTE DOWN EVERYTHING WE CAN SEE AND HEAR, DEVOTING A FEW MOMENTS TO THE SPECTACLE OF NATURE.
FOREWORD
Approximately more than 90 tracks, with different characters, were used in the production of this new audiovisual.
This sound also makes use of a light background music accompaniment, which, thanks to an implicit synchronicity, reinforces the rhythm of the product and its emotional transmission. In the product we also find sounds that can be traced back to different sources associated with new explicit synchronicities, with the intention of reinforcing certain movements or gestures that are otherwise unremarkable.
These gimmicks were often circumvented by means of "whooshes," that is, a wave of sound (with a particularly pronounced envelope) that begins in slowly, increases in volume and intensity, and then dissipates in a similar way as it began. A typical "whoosh" sound is similar to a rapid gust of wind.
DEVELOPMENT
For the realization of these environments I developed the sound production, dividing the individual spaces into multiple levels of listening. In the foreground we find the "signals," or short elements of strong intensity that characterize a given moment.
In the second level I developed the "tonics," in relation to the sound footprints, reconstructing the spaces taking into consideration their uniqueness. As the last level I selected an accompanying base, which could act as an external layer, but by means of an implicit synchronicity could accompany the other sounds within a single narrative.
Since this is more than sixty clips, collected in 126 seconds of footage, I went to exemplify the process carried out, taking eight fragments into analysis.
