Cannes Lions

Velar 'Night Sounds'

LFO SOUND, Sunbury On Thames / LAND ROVER / 2017

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Film

Overview

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Credits

Overview

Description

The creative idea was to showcase the sleek lines and innovative features of the new Range Rover Velar.

People literally stand back in awe when they first see the new Velar and that's what the agency wanted to capture with this playful launch film.

As the car glides through a rainforest environment, its headlights reveal a host of nocturnal creatures, including a porcupine, kinkajou, brightly-coloured frogs and bats. It's more like a low-light night-time nature film than a car ad.

The animals, birds and insects all come to a standstill when the Velar stops to avoid a somewhat grumpy Porcupine who has bumbled into the road.

We hear a variety of vocal comments from the creatures as they stare in wonder at the static car.

Finally, with the grumbling porcupine safely across the road, the vehicle speeds off for home, where we see the car in all its glory.

Execution

This film was a real challenge sound wise. The sound and pictures had to work in perfect harmony to help convey the story.

Although all the animals were real, there was no live sound recorded during the shoot. So, I spent a lot of time seeking out recordings of some of the more abstract animals on show in this film to use as my source material.

My brief was to give each creature character, to make them sound like they are commenting on what they are seeing. I spent days auditioning sounds before choosing the takes to play with for each reaction. Each chosen sound was then manipulated - re-pitched, time-stretched, Eq'd and edited (there's even a real voice 'morphed' into one of the reactions - an old Ben Burt trick that I'd wanted to try).

Some of the individual animal sounds are made up of multiple recordings, EQ matched and 'knitted' together to get the perfect reaction that the team wanted. None of the final sound you hear are 'out of the box'.

Another important thing was to Foley all the movements for the animals. We wanted the viewer to hear even the tiniest of movements - for example, the Kinkajou on the tree moves and you can hear it's claws tighten on the branch (an old glove with nails pushed through the finger ends recorded against a tree in my back garden to get the perfect sound).

The actual car sounds were recorded in an anechoic chamber at the clients test facility, but we actually ended up taking these out of the mix as we wanted to focus on what was going on around the vehicle.

This film ended having very complicated sound design track but was carefully crafted to compliment not to overshadow the story telling.

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