Using Sound Design to Build the Horror-Inspired World of Delta State University’s “Fear the Okra”
Good sound design in film and commercials enhances the imagery on screen. It fleshes out the world, making the experience more tangible to the viewer. Deep rich sounds, detail, personality, and complexity work together to create an immersion that makes the viewer feel what they are watching. Often overlooked, sound is as important as video, but ultimately, serves the story being told.
With most sound design, whether live-action or animation, the sonic world we are creating is made from the ground up. How does the world in the video sound? Is it organic, synthetic, fantastical, mechanical, exaggerated, big and majestic, subdued, or combinations of all? What are the emotions that we want the viewer to feel? Do we want confusion, sadness, terrified, or laughter? Using the wrong sound elements can incorrectly articulate the impact we’re aiming for.
Early this year, Mad Genius were approached by Delta State University (DSU) to create a series of commercials revisiting the “Fear the Okra” campaign that we created for them back in 2012. Those were hugely popular, and DSU wanted to create something in a similar vein. This time around, each commercial would highlight different aspects of the school, including their new media arts department, athletic programs, and nursing courses. A horror-themed concept was decided on, with their Okra mascot being the creature/monster that unwitting students encounter in each commercial. Instead of traditional horror kills that happen in film, they would be punched at the end of each spot by the surly mascot.
Playing in the horror genre is fun and exciting. It allows us to approach all the parts of sound design differently than a standard spot. Once again, world building is key. The idea is that Okra is like an apparition that appears out of nowhere to claim each victim. Since this was for a commercial, the horror and suspense had to be intense, but not so intense that a younger audience would not be able to enjoy it. And, since each story is told in 30 seconds, suspenseful timings that are usually used in film, and that require a long audio or video setup to lull the viewer into a sense of calm, were not going to fit.
Editing and Dialogue
The next step of any audio production is to take what was edited, and work with just the vocal dialogue to determine if anything needs to be added. Additions could be something as simple as adding more bass equalization to a voice for more presence, or reverb effects to make the voice feel more within an environment.
The athletics/baseball commercial is a great example of that as there are only three lines spoken throughout the entire spot. The rest of the audio contribution to the story has to be told through sound effects, Foley (which are every day, real-life sounds like footsteps, clothing rustle, and other movement), music, and ambiance.
Below are all the audio parts recorded that day that were used in the final commercial.
Notice, there are almost no sounds in the commercial. In fact, it’s so sparse that your brain might be trying to add sound effects in your head to fill the silence! In these cases, world building has to occur through the sound design. Otherwise, it’s dead and lifeless.
Music
We’re going to go out on a limb and say that most people notice music in film, whether they know it or not. You remember the musical scores for “Jaws,” “Halloween,” or “Psycho” don’t you? Music ties into the DNA of those films so strongly that it becomes inseparable from the film.
In the DSU horror commercials, we wanted to tie each commercial to a different homage of music in horror films. This is an auditory shorthand to get the viewer to know what this world means. The script of the athletics/baseball commercial was following the 1980s slasher trope where our catcher thinks he first sees the Okra, and tension is created when nothing is there. Or so it seems…
After that, a don’t-look-over-your-shoulder moment reveals the Okra right behind our main character. The tension has to build, but not take over, to allow for the emptiness in the space on the baseball field. We decided the “Friday the 13th” series would serve as our inspiration, with the Okra standing in as Jason Voorhees. By layering in dissonant orchestral stringed instruments, synth strings, low rumbles, and drones, we were able to create a rich and complex music track that gave a feeling of unease. In the next clip, you may be able to catch a bone-chilling hit that echoes just like it might when Jason approaches.
Another example of Mad Genius leveraging homage through music is DSU’s nursing commercial. The scene takes place in a lab that wouldn’t be too unfamiliar in the movie The Thing. We wanted to draw into the heavy synth music created by the horror master himself, John Carpenter.
At the end, all the commercials finish with the student getting punched in the face. That becomes the release of tension in the commercial as you realize it has become a comedy. For this, we decided that something over-the-top, bombastic, and very different from the music used earlier would create such a break. We went with a heavy guitar that had tinges of the Wyld Stallyns air guitar from the Bill & Ted films.
Foley
Back to the baseball commercial. In it, you’ll notice that while the commercial begins establishing its tone, some elements still seem missing…
During the shoot, there wasn’t time to isolate and record every footstep and foot turn (like with all major productions). That’s where Foley comes in to add to the realism.
By adding more footsteps of our pitcher running up, and running off, as well as closing a gate off-screen, we get a sense that he isn’t there anymore. Also, by adding the clothing rustle of the catcher who is removing his gear, and the scoots of his feet when he abruptly turns around, we give the viewer a sense that our catcher is actually performing those motions. Little details like, the quantity of gravel in the dirt, the speed of our running pitcher, and the materials that make up the catcher’s gear, all have to be considered in order to make each of the Foley sounds believable.
Sound Effects and Ambience
We are almost done! Now comes the final piece that brings all the pieces together. Adding sound effects and ambient sounds to a film or commercial heightens the atmosphere, brings punctuations and accents, and smooths the overall background. Music and Foley can do a lot to create that atmosphere as well, but sound effects and ambient sounds can also add textures.
In the baseball commercial, we needed a way to motivate our pitcher to leave the field. It was decided that a whistle blown by their coach off-screen would work best. Later in the commercial, you’ll hear a heartbeat to slowly raise the tension while the catcher is looking for the monster.
A gigantic ship horn, or what’s now termed a Braam stinger (made popular in the film “Inception”), abruptly reveals the Okra, emphasizing how startled our main character really is. At the end, the Okra’s punch is accented with a metal door slam to increase the feel of its weight.
It was incredibly hot and humid during the shoot (#MississippiLife). We wanted to bring that feeling into this commercial. Cicadas and sprinklers in the distance were used throughout to familiarize the audience with that time of year. These two sounds also create a monotonous, droning dissonance which amplifies the emptiness of the baseball field as our main character is looking for the aberration.
Designing soundscapes, whether simple or complex, can be a fun and creative process. It starts out as a blank canvas, but by incorporating all the elements above, color, texture, and mood begin to emerge for that world. It allows Mad Genius to create odd, sometimes obscure sounds to compliment what would traditionally be heard. Ultimately, it makes us feel for the characters, giving everyone who watches it a truly unforgettable experience.
Looking for expert sound design for your next commercial? Okra-themed horror is only one of the genres we like taking a stab at. Mad Genius would love to hear about your project.
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