For Rascal’s Neil Johnson, Communication Is the Key to Quality

Rascal’s Neil Johnson is a seasoned sound designer who knows his way around every corner, and every sound, of the industry. Over the course of his storied career, he has worked on stellar campaigns for Nike, Lexus, Honda, Oxfam, Adidas, and Peloton among countless others. A multi-award winner, he was most recently awarded Gold for best sound design from the Creative Circle Awards for his work on V&A’s hypnotic ‘Creativity. It’s What Makes Us’ campaign.

While Neil relishes working on projects where he’s given total freedom, he’s also a true collaborator at heart, noting that it’s the “people who make the job fun.”

Next on Neil’s agenda is continuing to push Rascal to produce the creatively-led work that has seen the VFX/grade/sound studio rise at such an astonishing rate. Mentorship will play an essential part in that push, with Neil emphatically championing the importance of nurturing the next generation of sound creatives.

With an audio career spanning over 13 years, today he tells us how it feels to be recognised for his work and what he has planned for Rascal’s future.

 

LBB> Neil, thanks for taking the time. Let’s start at the beginning. Can you take us through your journey? How did you end up doing what you’re doing?

Neil> So I started off playing guitar at the early age of 11. I played in a load of bands and when I went to study music, there was a course on audio post production. My family was massively into film, so I grew up watching them as a kid. I realised “oh, this is quite fun, and I can still do my music as well.” At that time, advertising had never crossed my mind. I knew I needed a job, so I went and put my CV into basically every sound house in Soho. I got a job as a runner at 750mph and ended up in the world of advertising so when I saw the opportunity to join the Rascals, I grabbed it. So now, 13 years later, here we are.

LBB> Congratulations on the Gold at the Creative Circle Awards. How do you feel about this recognition of your work?

Neil> I was very happy about the award. Especially because there was a lot of tough work out there. That project was very full-on! But there was a great team around us all working closely to make everything come together at the end.

LBB> What unique elements do you bring to the world of audio that might separate you from others in the field?

Neil> I think everyone will approach a project with a different viewpoint. I think you can get briefs from creatives and directors, and yes you can fulfil them, but if you fail to bring your own ideas or approach, you don’t add anything of yourself. It’s only through bringing in your own footprint that you are able to create something not only effective but unique. Once I've discussed the brief, I take multiple approaches to the project, seeking what best harmonises with the storytelling of the film. Our subconscious influences us more than we realise. I trust my instincts — aligning what I sense works with the brief, while drawing inspiration from films, music, and the world around me.

LBB> What trends are you seeing emerging in the world of audio, and how is Rascal positioned to leverage these trends?

Neil > The present quality of work has made remarkable strides in the past decade, thanks largely to the advancements in both hardware and software technology. This progress has notably expanded our sonic design capabilities, enabling feats that were once out of reach. However, it's crucial to acknowledge that while technology advances, the essence of the human touch remains invaluable and should not be exclusively replaced. At this time, the industry buzz centres around AI. Being part of Rascal, forward thinking and focused on the future, we're constantly exploring how AI can be harnessed to enhance our workflow. From my perspective, while AI's impact on audio might not be fully realised just yet, given the existing advancements, I'm confident it's only a matter of time before AI crosses over into our domain.

 

LBB> Can you tell us about a project you’ve worked on that you’re most proud of?

Neil> The one that most people would probably mention in relation to myself is Oxfam’s ‘The Heist No One Is Talking About’ . That was great and rather challenging, because they didn’t record any audio, so everything had to be built from scratch. It involved a lot of heavy sound design as well as a lot of foley - I also had to edit down a four minute music track, with all the stems to help build tension throughout the film, which was another challenge in itself. More recently I would say Peloton’s ‘Anyone, Anywhere’ job.. We started off with a lot of sound design but working so collaboratively with the client allowed us to experiment, stripping it back and focusing more on the music edit because it was such a great track and helped drive the film.

LBB> What would you say is the most challenging part of what you do? How do you overcome this? 

Neil> The crux of it lies in effective communication. Successfully engaging with agencies, production companies, directors, and all those involved is essential to ensure everyone shares a common vision and understanding.

LBB> What do you value most when working on a campaign? What makes a project stand out to you when thinking about your career highlights? 

Neil> I really like doing what I do, but for me the best part is the collaborative element and working with other people that you just get along with - people who make the job fun. Whether that’s working with a director, creative team, or agency producers, it just helps everything come together. Given the length of my career it’s hard to pinpoint one favourite project, because I’ve worked on some incredible projects with incredible people. But that’s what it all comes down to really, it’s the people.

LBB> Can you speak about some of the aspirations you have for Rascal on the audio side of things and for yourself?

Neil> We are already doing great things here. It’s been nearly three years and we have picked up multiple awards for sound design; Lexus, Toyota, V&A. We have some big plans for the next year, I’m really looking forward to sharing when the time is right! We are recognised as a strong competitor within the audio side of the industry and the department is going from strength to strength - it has become an exciting string to Rascal’s bow. So it’s all about building on that and continuing to expand our team. For me the next vital step is on the mentoring side to nurture the next generation of talent. That feels like a bigger, tougher job but a great one.