In this piece I aimed to mix naturalistic and futuristic sound design elements - to create a sterile room tone I took a recording from the inside of a fridge and created a short, sharp delay and reverb effect chain to simulate the accoustics of a space with many hard flat walls. On top of this was layered self recorded foley of paper rubbing together and bending for the books strewn across the floor. I created the noise of the protofacehugger using foley with chicken breasts and ceramic plates for a wet and fleshy texture to the sound - these were generally pitchshifted and backmasked to create a more otherworldly sound.

Of particular interest to me was the opening of the sliding doors - it is a moment of great importance in the scene and needed attendant audio focus. It was ultimately a combination of two rough textured bottles rubbing against one another and a cocktail shaker being driven into place that created the movement and settling of the door. The rough rubbing sound had a primal element to it that I felt befit the nature of the scene which I married with a more pristine ‘click’ of the door settling to signal a new phase in the scene.

For the girl playing violin I wanted to make it sound as though a generative music machine had broken. I achieved this using an effects chain of volume and pitch modulation and an autotune set to a different scale to the played notes.

The fight scene utilised a mix of foley for smaller events (ie, axe blows, steam pipe breaking) and samples for the louder, deeper sounds that my foley set up was unable to replicate (body impacts against floors and walls). In this foley process I used knives, metal utensils and various fruits to emulate weapons and flesh impacts respectively.

In the final moments the control panel sound is a sine wave playing individual tones until the final press which plays a perfect fifth chord to create a sense of resolution.