We’re pleased to reveal that GCRS is among the six post-production houses that have made the final list for the first ever Audio Media Post Production Showcase – a feature highlighting the varying work across the field of audio post-production for feature films, shorts, TV, and advertising.

GCRS’ pitch comprised ‘The National Autistic Society – Sensory Sensitivity’, a strong 70-second film that efficiently showcases the challenging experience of sensory sensitivity that a person with autism faces on a daily basis.

We spoke to GCRS’ Munzie Thind, sound designer of ‘The National Autistic Society – Sensory Sensitivity’.

What was your brief/concept for this?

I have collaborated with director Steve Cope (Rattling Stick) many times in the past and he brought me in at the start of the process to get my thoughts on how we should approach sound for this National Autistic Society spot.

The concept was to create something that would bring to life the experience of sensory sensitivity – one of the challenges that people with autism face every day.

My starting point was research, talking to people, reading books and articles, and finding out everything I could about sensory sensitivity and the way it affects people with autism. I took a different approach from my usual work.

Instead of aiming for the beautiful, I wanted a soundscape that was really annoying. This unnerving feeling is reflected in the visual and the end result is really powerful.

What was the sound design process like?

The sounds were looped and manipulated to disrupt the listener. By doing this we wanted to make them feel uncomfortable and alien – the repetitive and atonal audio is meant to strike a chord with the audience, communicating the message in an unnerving manner. I messed with the tempo of recorded and library sounds to add that arresting factor.

Munzie Thind, GCRS

In order to achieve a stark contrast with the rest of the film, I cut it dead at the end to surprise the viewer, as the film cuts to a shot of Chi, who is autistic.

Can you run me through the technology set-up?

I used Pro Tools as my editor then Structure, Omnisphere, and various plug-ins to manipulate the sounds from our library. I recorded sounds outside the studio using a Sound Devices 722 portable recorder with a Sennheiser MKH 416 gun mic.

How long was the production process?

Actual studio time for the project was roughly around two days. That’s including edit changes to the picture.

What special challenges did it present?

I felt it was vital to start by researching the experiences of people with autism, so that I could strive to put myself in their shoes and create something that would truly reflect the challenges they face every day.

How was the response from the public?

The film has been very well received by the public and industry media alike. Most importantly, the response from those with autism has been overwhelmingly positive, with people telling me that the film and sound treatment gets this experience spot on.

Lastly, what are you working on right now?

I’ve just finished working on various spots for BT Sport. It was a really interesting project as it combined live action Premiership moments with commentator responses, cut into shots of Premier League players and fans sitting at home, in clubs, and out and about. We used an incredible tribal sounding track – Electric Pow Wow Drum from A Tribe Called Red – to bring it all together and build to dramatic crescendo. As a football fan myself it was a huge pleasure to work on.

www.gcrs.com