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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : CBNAT SEPTEMBER 2013
SOUND+MUSIC CAMPAIGNBRIEF SEPTEMBER/OCTOBER 2013 FROM ITS MODEST BEGINNINGS in a renovated Tamarama rehearsal space, music producer Justin Shave and music supervisor Charlton Hill have always had a strong vision for the expansion of the company's ser- vices to include all facets of audio. Their multi-studio Glebe premis- es, launched late last year, and a solid run of high-end projects has provided healthy foundations from which to build. Says Hill: "We've put our heads down, worked as passionately as possible on every project...and here we are with a great studio and a new audio post arm kicking off. It's a really energised and rewarding time for UV." Enter Matt Perrott who, after an association with Uncanny Valley over the last 12 months, now shifts gears to formally oversee audio post as UV's head of sound. At thirty years of age, Perrott has achieved an extraordinary amount in the field of sound design and broadcast engineering. He started his career mixing movie trailers in 2003 and has increasingly become known as a go-to guy for providing creative audio solutions for any- thing from TVCs to long form series. And it's not just all about knob twiddling. More than often it's his advice that drives sound as an inte- gral story-telling complement to vision. Says Shave: "Matt has extensive experience and knowledge of avail- able voice-over artists and a keen intuition in directing the right tone for a project." Adds Perrott: "The attention to detail paid to the design and voice over layers on a soundscape can make or break a story and, conse- quently for TVCs, the intended feel of a brand." After a few years as sound design- er at Beamo Music, in 2008 he became head engineer for the renowned Supersonic studios. At the helm of one of Sydney's then premiere operations, Perrott carved a unique style of creativity in the field with a strong discipline of process and work-flow necessary for someone at the end of a very impor- tant and often expensive chain. Working on high-end jobs with clients such as Lexus, Bundaberg, Johnnie Walker, Coke and many others, he worked extensively with Sydney and Melbourne agencies as well as forging loyalties in Singapore, Japan, India, Vietnam, U.S., U.K. and China. With the urge to see the world, Perrott ventured o.s. and roamed less traveled countries such as Belize, Guatemala and Finland. Choosing a base in London, he continued his career freelancing with Discovery Channel, Disney Channel, Soho Square Studios, Evolutions and also directly with agencies including JWT and Hoggarth WW. His rising star then attracted the attentions of the renowned Kaiser Sound Studios in Amsterdam who head-hunted Perrott to work as their top engineer. Perrott recalls: "It was a really mind-opening, adventurous time - a total melting pot of culture and per- sonalities. From a crazy Dutch tele- vision series to a somewhat sound- experimental Red Bull commercial, I learnt so much, so quickly." Returning to Sydney mid 2012, Perrott was hungry to put his expe- rience into practice in his home town. "I really wanted to drive my own thing. I knew what I wanted to deliver to the industry here and was keen to apply it to my own world- class operation," says Perrott. "Uncanny Valley's approach felt fun and fresh not to mention sus- tainable as a streamlined, boutique sound house delivering creative solutions in original music and licensing. UV has some of the most forward-thinking musical minds in this country. . .and the door was open for someone to take the audio post reins." Adds Hill: "I'm ecstatic to have Matt on board. Having worked with him before, I always held him as the benchmark for the role both for his experience and his 'no prob- lem' nature in overseeing a project's audio from beginning to end." As UV more than often collabo- rates directly with the creative deci- sion makers on its projects, trust and long-term loyalties have fol- lowed from its ability to consistently deliver audio solutions. Often being brought in at pitch stage to aid the thinking behind music choice, voice over and the overall approach to the sonic feel of a piece, their diverse portfolio continues to build. Recently, the team has delivered on Jim Beam's 'Make History' for the Works, Qantas for 303Lowe plus remixes of Kmart's 'Bom Bom' for BWM, Rudimental's chart top- ping 'Feel the Love' for Foxtel and the Australia's Next Top Model theme. Proving their combined skills when it comes to sonic branding, UV continues to deliver company- wide audio mnemonics and advice for the likes of Foxtel, Palmolive and Virgin Money. Uncanny Valley studios also hous- es the talents of Andy Wilson (Plasma) who oversees all promo mixing for Fox International's FX channel. With an endless list of Promax awards to his name, Wilson provides extensive experience in station audio branding for UV. UV's impressive run also includes work on Network Ten's Winter Olympics, Masterchef and the Rugby Lion's tour as well as the theme and entire music library for FremantleMedia's 'The Mole'. Their domestic activity is also now attracting o.s. attention with TVCs, promos and channel packages for Singapore and India. Says Perrott: "The team and stu- dios we have created rival anything I have experienced anywhere in the world. The possibilities truly are limitless!" For all music requests and audio post bookings contact EP Charlton Hill:email@example.com and visit www.uncannyvalley.com.au Matt Perrott landsatUncanny Valleytolaunch audio post With only three and a half years under its belt, music and sound company Uncanny Valley has forged its place as a serious collaborator in the advertising, TV and online industries. Enter Matt Perrott who, after an association with Uncanny Valley over the last 12 months, now shifts gears to formally oversee audio post as UV's head of sound. Perrott: oversees audio post as Uncanny Valley's head of sound Uncanny Valley's new look Studio C Jim Beam 'Make History' via The Works Australia's Next Top Model - Theme (Shave Remix) Kmart Kids 'Toys' via BWM
Campaign Brief May-June 2013
CBNAT NOV-DEC 2013