MIKE HALLENBECK
SOUND DESIGN : WORK SAMPLES

Holy Moly : Foley/ Sound Design

Reel: Foley/ SFX

Reel: Post Sound Edit / Mix

MUSIC : WORK SAMPLES

MUSIC : SCREEN : ID/ INSTITUTIONAL/ BRANDING

Reel: ID/ Branding

Everlast

Avid / Sonic Scoop

CMTEL

The Playwrights' Center

MUSIC : SCREEN : NARRATIVE/ EXPERIMENTAL

re:form Ancestors

Abandon

Red and Blue Fly Away Forever

Fate

Retrofit Scores

MUSIC : STAGE

Blue Heaven

I Like You

Antigone

Cowboy Vs. Samurai

Klingon Christmas Carol

MUSIC : PERFORMANCE

Tuesday series @ Madame 9/13/11

Sound Spandrel: Science Museum

Collections UMMA

iQuit 6/8/09

Acadia w/ Viv Corringham 11/1/05

24 Hour Drone

MUSIC : RELEASES

The Material

The Secret History of Karaoke

Silent Night (Shepherds Quake)

Music Box Hero

INSTALLATIONS

McNeill Street Pumping Station New Music Festival

Things I've Said In My Sleep

Sound Spandrel: MMAA

The Premises

MIKE HALLENBECK

FOLEY / SOUND DESIGN : HOLY MOLY

Above: the David and Goliath episode from "Holy Moly", a line of animated educational videos used by Sunday school classes and youth groups in the K-5 age range and produced by the Sparkhouse line at Augsburg Fortress Publishers. My role: sound effects creation, voiceover recording, music supervision, sound design, even a bit of voice performance (I'm a member of both groups of soldiers, as are the director and animators).

The "Holy Moly" print materials feature characters rendered as paper shapes that children can color in, cut out and move around. The animations expand these pieces into a narrative to augment the day's lesson. The cartoons bring the 2D materials to life as a narrative. The cutout characters spin in space, and are colored in or drained of color depending on how much faith they experience.

The characters' speech is entirely nonsense phrases improvised by the actors, voiced to match the emotive impact of scripted phrases. Sound effects range from a standard library to a variety of custom cues. In keeping with the organic aesthetic of the print materials, I developed a palette of sounds derived entirely from vocalizations. These make up many of the subtler aspects of the piece-- including birdsong at the beginning, many of the "whooshes" when characters spin, squints and blinks (such as at :24 and :26), clothing/ gestural accents (leaning down to pick up the telescope at :26), and the telescope ratcheting into focus at :33.

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MIKE HALLENBECK

COMPOSER/ SOUND DESIGNER

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