For these films, that were about the experience of being in nature, and letting nature into our lives - something that a lot of us have appreciated in lockdown - it felt appropriate to tread lightly.
So we flipped the balance, letting sound design lead. This is because sound is very good at communicating the qualities of a physical place - materials, movement, space and scale. Music is better at communicating emotion, but here silent contemplation to let the scale of nature in and let us ride with the characters felt like a better approach.
Letting a scene breathe allows it to become more immersive. Silence can be more powerful than adding. Less is more.
I used lots of stereo effects to enhance the sense of movement. The track on the hero film above does give our character a sense of purpose, but also a sense of the unknown when it pauses as the phone call interupts his zen in the car.
As the Paddleboard film is the more social of the three and a bit more bubbly, there's some talking and a bit more general activity in the sound design.
Ably assisted by the great Timo Säilä on the Photographer film above, this one gets closer into the features of the F-PACE itself.