HENRY FLEWITT
Sound Designer
GAME AUDIO
My main areas of focus on Realms of Ruin were:
Faction (Kruleboyz) audio direction and design, including foley and magic abilities
Ambience audio direction, design, and implementation
Combat design direction, system concepting, implementation and design
Reverb system and IR design and implementation
Nominated for BEST SOUND DESIGN IN GAMING in 2022's Music and Sound Awards
I joined the Jurassic World Evolution 2 team at the beginning of my time at Frontier, as the project was coming out of pre-production, and have been working on it ever since!
The opportunity to work on such a famous IP with so many famous sounds and stories that have had a profound effect on so many lives really is a huge honour.
I was able to work on a massive variety of areas within the game, including dinosaur, UI and vehicle design and implementation, setting up Wwise systems for features such as ambiences and storms, and linear sound design for in-game cinematics.
I worked as part of a small team provided by Frontier to Complex Games for audio support on the bosses of the game.
We provided a complete audio pass on all elements of these bosses, particularly focusing on their combat abilities, foley and vocalisations.
FRACTURED VEIL
Fractured Veil - a multiplayer, open-world survival game based in Lahaina, Hawaii.
I worked with Ironbelly Studios on this project as the sole Sound Designer in 2019. I provided support and design for a first pass and Wwise/Unreal implementation of many of the games' audio systems including player foley, weapons and ambiences.
The game is in open development and more information can be gathered on the website:
I was involved with the Planet Zoo DLC cycle for the Grasslands and Twilight Packs, helping with animal design, dialogue implementation and music editing.
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.
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).
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.
AUDIO-POST PRODUCTION
Credit: Sound Designer/Foley Artist/Foley Editor/Dialogue Editor
Runtime: 14 minutes
Synopsis: A sci-fi web-series about the dark side of the Internet. Addiction. Dating. Privacy. Public shaming.
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
I've been working in game audio since 2018 as both a freelancer and as part of an in-house team and have been lucky enough to work on some amazing IPs.
Nominated for BEST SOUND DESIGN IN GAMING in 2022's Music and Sound Awards as part of the team on Jurassic World Evolution 2.
Previous to my career in game audio I was also fortunate to work on the sound team for numerous award winning and award nominated feature length and short films.
My DAW of choice is Reaper
My preferred middleware is Wwise.
My engine experience is Cobra (FDEV) and Unreal Engine
I am experienced in Sound Design, Sound Editing, Dialogue Editing and Game Audio Implementation.
Other skills include MaxMSP, Pure Data and visual scripting