LINEAR SOUND DESIGN
Stressing the importance of foley and sound editing, this re-design puts more focus on conveying a realistic and believable soundscape to immerse the viewer in the story. After experimenting with different soundtracks and varying degrees of inclusion, I found that the lyrics of "The Man Comes Around" by Johnny Cash fitted the action too perfectly to not include.
The voice actors can be found here (male) and here (female).
A sci-fi websseries about the dark side of the internet. Based in both reality and virtual reality, the sound design for this project explored the chaotic nature of the internet in the near future and the reclusive, paranoid nature of the main character. The various styles used across the webseries allowed me to explore a large variety of sound design techniques, resulting in a predominantly glitchy yet cinematic style.
Inspired by the visuals of this trailer, I decided to re-create the sound design, taking particular interest in the transition between real and hyper-real and the vocalisations of the monster. The monster's scream was created using a mixture of animals, which are then side-chained by a wooden creak. This allowed me to mimic the dynamics of the creak, giving the creature a more "wooden" sound, to match it's visual design.
I really enjoyed the visuals of the trailer, so thought I'd take a bit of time to have some fun with it! I wanted to help use the fast visuals to make a fast moving and diverse soundscape that explores a wide variety of sci-fi styles.
Experimenting with slower paced visuals is something I previously hadn't entertained much, but I couldn't resist taking this trailer and re-working the style of the audio. The original trailer makes use of fast-paced music to juxtapose the slow motion imagery, but I have sought to embrace the somewhat dreamy state of the imagery in the soundscape. Taking inspiration from the soundtrack of Bladerunner, this trailer follows a more musical and suggestive development than some of my other work.
GAME AUDIO, IMPLEMENTATION, AND VISUAL SCRIPTING
FRACTURED VEIL
Fractured Veil - a multiplayer, open-world survival game based in Lahaina, Hawaii.
I am currently working with Ironbelly Studios on this project as the lead sound designer and sound engineer. Covering the entire audio pipeline my role involves creative audio design, audio implementation using Wwise, Unreal Integration and audio system engineering.
The game is in development, but more information can be gathered on the website:
UNREAL ENGINE STRATEGY GAME
Re-designed all sound elements of the opensource strategy game available for Unreal Engine 4, adding Wwise integration to improve the sonic experience of the game. This process entailed a mixture of simple replacements, or designing different audio systems to build upon the structures set out in the game. For example, implementing a procedural music system that progresses depending on enemy proximity to your base.
Below are a series of videos that give an in depth description of the implementation process for all the different elements of the game.
PROCEDURAL MUSIC SYSTEM
I created a fully automated music system to allow the music to react to the game parameters, to help engage with the player and give a sonic representation of the game progression.
GAMEPLAY DEMO
A full playthrough of the game to demonstrate all of my work.
BUILDING IMPLEMENTATION
I changed how the various weapons are heard while being constructed by creating unique, looping solutions for each individual weapon.
AMBIENCE IMPLEMENTATION
Created and implemented an atmosphere that has more interaction with the elements occuring within the game.
UI IMPLEMENTATION
A description of how I designed and implemented the UI elements of the game to improve upon the originals.
WEAPON IMPLEMENTATION
A description of how I implemented my re-designs of the weapons within the game.
TOYBOX TURBOS RE-DESIGN
A video outlining the sound design created for a pre-release version of Toybox Turbos. For this project I selected particular elements, focusing on 2 game-modes within the game. These included the UI, music, powerups, world sounds, and various interactive elements within these game-modes, including a "wall of death".
XBOX KINECT+MAXMSP AUDIOVISUAL
Created in Max MSP, this interactive audiovisual project makes use of an Xbox Kinect and Synapse, allowing me to record and utilize the user's movements. This data is manipulated to control various elements within the patch, creating an ever-changing display. The basis of the visual display is 2 points that attract or repel the surrounding particles, depending on user position. An in depth description is available in the video, as I outline the various components of the patch.
AUDIO-POST PRODUCTION
BLUE HOLLYWOOD
Credit: Foley Artist/Sound Designer
Runtime: 82 minutes
Synopsis: Blue Hollywood is the story of Celeste and Alessandro , two young actors with very different personalities and approaches to their profession. After meeting at an Acting Summer Program in London, they decide to move to LA in the hopes of striking gold in the Hollywood film industry.
THE CHAIRS
Credit: Foley Artist/Dialogue Editor
Runtime: 20 minutes
Synopsis: Forced to move back to his childhood home in Azerbaijan to care for his father, Kerim often finds himself carrying his father up to the only village telephone. It is here that he is able to spend valuable moments with Rena, a married woman from the same village.
RAVE
Credit: Dialogue Editor/Dubbing Mixer
Runtime: 6 minutes 11 seconds
Synopsis: ‘Rave’ is a short documentary that offers a female's reflection on Berlin’s techno community.
The film follows four Berlin girls on their way to the Rave. Throughout their journey, Paola shares her thoughts about the vision of this subculture. What are we really seeking when going to a Rave?
LOST TIME
Credit: Sound Designer/Dialogue Editor/Dubbing Mixer
Runtime: 8 minutes
Synopsis: A documentary about drummer Paul Wager, a drummer who suffered a stroke. The story covers his long road to recovery and being able to play the drums once more.
ABOUT
Hi there, I'm Henry, a sound designer for video games and linear media, from Winchester. Thanks very much for checking out my website!
I'm passionate about all elements of sound design, whether it's creating an implementing technical audio into games, or creating the perfect foley track to really help bring a film to life.
I've worked on the sound team of numerous games and a variety of award winning feature length and short films.
I'm currently working at Frontier Developments.
You can find my CV here.
My main skills and experience are Sound Design, Sound Editing, Game Audio Implementation, Wwise, Reaper, Pro Tools, Unreal Engine 4, Logic X and Field Recording.
Other skills include MaxMSP, Pure Data, Adobe Photoshop and Final Cut X.
My favourite games for sound
Apex Legends
Red Dead Redemption 2
Detroit: Become Human
The Witcher III
Inside
The Long Dark
The Last Of Us
Games I'm excited for
Cyberpunk 2077
Death Stranding
The Last of Us Part II
Games I've been playing recently
Apex Legends
Inside
Planet Coaster
Red Dead Redemption 2
Testimonials
“For "Wild", we were faced with the challenge of depicting a character without visuals. This is where good sound design was crucial. Henry worked closely with us to ensure our sound palette not only immersed our viewers into a unique world, but that they also could feel and fear the presence of something they could never fully see. It was a joy to work with them, and I look forward to collaborating again on future projects.”
Morgana McKenzie - Director of "Wild"