| Title | PETA "EYE TO EYE" |
| Brand | PETA DEUTSCHLAND E.V. |
| Product/Service | PETA |
| Category |
A09. Sound Design |
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Entrant
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KOLLE REBBE | ACCENTURE INTERACTIVE Hamburg, GERMANY
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Idea Creation
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KOLLE REBBE | ACCENTURE INTERACTIVE Hamburg, GERMANY
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Idea Creation 2
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DEMODERN Hamburg, GERMANY
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Production
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DEMODERN Hamburg, GERMANY
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Production 2
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MARKENFILM Hamburg, GERMANY
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Production 3
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GERMAN WAHNSINN Hamburg, GERMANY
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Credits
| Fabian Frese |
Kolle Rebbe GmbH |
Chief Creative Officer |
| Andreas Brunsch |
Kolle Rebbe GmbH |
Executive Creative Director |
| Nicole Holzenkamp |
Kolle Rebbe GmbH |
Creative Director |
| Christian Rentschler |
Kolle Rebbe GmbH |
Creative Director |
| Lorenz Ritter |
Kolle Rebbe GmbH |
Creative Director |
| Lea Zaydowicz |
Kolle Rebbe GmbH |
Account Manager |
| Martin Bergmann |
Kolle Rebbe GmbH |
Art Director |
| Max Wort |
Kolle Rebbe GmbH |
Copywriter |
| Rachel Hoffmann |
Kolle Rebbe GmbH |
Agency Producer |
| Ole Brand |
Kolle Rebbe GmbH |
Agency Producer |
| Falko Tilgner |
Kolle Rebbe GmbH |
Editor, Grading |
| Alexander Hildenberg |
Kolle Rebbe GmbH |
Cutter, Grading |
| Alexander El-Meligi |
Demodern GmbH |
Managing Director, Creative Director |
| Deborah Montag |
Demodern GmbH |
Project Manager, Digital Producer |
| Daniel Harrison |
Demodern GmbH |
3D Artist |
| Mirko Wiedmer |
Demodern GmbH |
3D Artist |
| Bastian Hantsch |
Demodern GmbH |
3D Artist |
| Robin Janitz |
Demodern GmbH |
Designer, Art Director |
| Michael Schmück |
Demodern GmbH |
UX Designer (mobile only) |
| Christopher Baumbach |
Demodern GmbH |
Lead Creative Engineer |
| Franziska Neu |
Demodern GmbH |
Creative Engineer |
| Sebastian Schuchmann |
Demodern GmbH |
Creative Engineer |
| Sam Bäumer |
Demodern GmbH |
Creative Engineer (mobile only) |
| Michael Sturm |
Demodern GmbH |
Web Developer (mobile only) |
| Juliane Geusendam |
Markenfilm GmbH & Co. KG |
Producer |
| Frank Schlotterbeck |
Markenfilm GmbH & Co. KG |
Director |
| Philipp Feit |
German Wahnsinn GmbH |
Audio Engineer |
Tell the jury about the elements of sound design.
As a one-of-a-kind combination of Virtual Reality and live acting, the impromptu conversation between user and virtual animal lies at the very core of the application and its sound design. Our goal was to create a tangible audio environment that convincingly places the user-driven dialogue at the center of the experience, subsequently branching off to the various scenarios and events – containing interactive sound elements which amaze, dazzle, shock and impress the user through absolute sonic immersion. Strong contrasts between tranquil quiet and menacing situations are the decisive design choice which makes this emotional impact possible. In addition to meticulously capturing and programming 3D audio of animals in their natural environment – which are dynamically triggered via foot-switches by the live-actor, translating binaurally on the user’s headphones – we recorded several musicians and even Germany’s last barrel orchestra for the circus cage scene.
Write a short summary of what happens in the film
Eye to Eye is an interactive Virtual Reality experience featuring live acting and dynamic sound design. The user is greeted by a virtual rabbit which is played and dubbed live by an unseen motion-captured actor. During conversation, the rabbit dynamically guides the user through different scenarios while discussing the value of life and animal cruelty based on the user’s values and interests. The forest: at first peaceful and tranquil, then the user is suddenly trapped in a circus cage. The slaughterhouse: The viewer learns about the cruel details of butchering. The laboratory: The user is trapped in a box like a rat, listening in on a merciless conversation between scientists. The Million Souls scenario: The user is surrounded by ghostly figures of the massacred animals. The experience concludes with the rabbit leaving a personal letter – which turns out to be real once the VR goggles are removed.
Cultural/Context information for the jury
As a one-of-a-kind combination of Virtual Reality and live acting, the impromptu conversation between user and virtual animal lies at the very core of the application and its sound design. Our goal was to create a tangible audio environment that convincingly places the user-driven dialogue at the center of the experience, subsequently branching off to the various scenarios and events – containing interactive sound elements which amaze, dazzle, shock and impress the user through absolute sonic immersion. Strong contrasts between tranquil quiet and menacing situations are the decisive design choice which makes this emotional impact possible. In addition to meticulously capturing and programming 3D audio of animals in their natural environment – which are dynamically triggered via foot-switches by the live-actor, translating binaurally on the user’s headphones – we recorded several musicians and even Germany’s last barrel orchestra for the circus cage scene.