This story is centred on music as our universal language, and the common desire for escape from the everyday, to live in bliss at the heart of a music and arts festival. If music is to sound what chaos is to order, I needed this story to reflect our emotional states as we exit the bustle of a city and enter the calm perfection of the stage. We needed order in the chaos. As always, writing the voiceover was a blast, and it happened while hugging a glass of red wine (or five).
Over the first half of 2016 I slowly found myself more and more involved in VR. For a sci-fi addict the storytelling opportunities were ridiculously attractive, imagination unfiltered, endless worldbuilding. For a journalist the impact immersive cinema would have on an audience is incomparable to linear video, it is an experience and an inseparable part of our memory, it becomes a part of who we are. I remember taking a GoPro spherical rig (the now obsolete third-party 3D-printed rigs, not the sexy beasts that are on the market today) from our equipment pool on holiday with me in Norway, I wanted to film, learn and make something.
Chromasound was Red Bull’s first stereoscopic VR story, and I wanted to be damn proud of it. I’m typing this with a smile on my face, must be a good sign. Currently used for on-site activation at festivals.
Chroniclr: Director, Producer
Travis Button: Nuke Artist & Cameraman
C-Black: Original Soundtrack
Scott Stevens: Composer
Ben Eggerhorn: Sound Mixer
Sergio Martinez: CG Animations Creative Director
Uli Mast: Post Production Supervisor
Creative Agency: Manson Street
Fisayo Akinade: Voiceover Artist (London Voiceover Boutique)