Shaping the Audio of Very’s ‘Dream Toys’ With a Touch of Charli XCX Magic

LBB> What was the initial creative direction given to you by the team at Very or the agency, and how did that shape your approach to the project?

Sean> The initial direction from the team was to really have fun with Coral's dream world. They had this amazing track that set the tone but wanted to use sound design to elevate it. Getting the contrast right between Coral's reality and her dream world was crucial. Sound was going to play an important role in defining these two worlds. However, I wanted to avoid traditional overused 'dream state' sounds that might feel too predictable. Instead, I wanted to create something a bit more unique, using different textures to convey the push and pull transition between Coral’s reality and her dream world.

LBB> How did you approach the sound design for the Dream Toys campaign, and what were your primary goals in setting the sonic tone?

Sean> The music is certainly the hero of the ad, and I wanted the sound design to be a complementary layer. It was going to be important to find the right balance, ensuring that each sound effect matched the playful visuals without drawing too much attention away from the track. The sounds were meant to feel bright and fun to amplify the ad’s imaginative feel. I also called upon some of the team at Jungle to record voices for the toys, which was good fun!

LBB> The ad has a magical and dreamy feel. What specific techniques or elements did you incorporate to enhance this atmosphere?

Sean> With Very's slogan, "Let's Make It Sparkle," it was important to bring that signature magical, sparkly texture into the ad. There’s a distinct 'Very' sound across their campaigns, which I knew I needed to incorporate. I worked on creating layers of shimmery, magical, airy sounds. One element I spent some time on was the 'sparkly poof' sound, used for the moment when toys burst out of their boxes in Coral’s dream world. I experimented with a variety of sounds, including recording my own Mark Tree, adding different textures to get a blend that felt right.

LBB> Were there any unique challenges in designing sound for this campaign? If so, how did you address them?

Sean> Achieving the right balance between the music and the sound effects was going to be the biggest challenge. As a sound designer you sometimes want to highlight the sound effects you've crafted, but sometimes less is more. There was a fair few sounds I experimented with but ended up removing them after deciding to pull back, allowing the music to take centre stage and only keeping the sound effects that genuinely added value.

LBB> Do you have a favourite sound or audio moment within the ad that you felt really captured the essence of the Dream Toys theme?

Sean> My favourite sound in the ad would have to be the squeak of the teddy bear bouncing off the cloud, mainly because I recorded it using one of my daughter's toys, which brings a sentimental value. Whenever possible, and if I have the time, I try to record my own sounds, as it's just a bit more fun! It also adds a bit more originality to your work, as opposed to just using library sounds.

LBB> How did you ensure the sound design complemented the visual elements without overpowering them, especially with such a dynamic, family-oriented theme?

Sean> To keep everything balanced, I tried to steer clear of anything heavy or intense, using light playful sounds to enhance rather than overpower the visuals and music track. I worked a lot on crafting the transitions in and out of the dream world, spending a good amount of time adjusting levels to ensure they felt right.

LBB> This campaign is designed to resonate with families and young audiences. Did this influence your choices in sound design, and if so, in what way?

Sean> Yes, absolutely. Knowing that this campaign was aimed at families and young audiences strongly influenced my sound design choices. We incorporated toy sounds that complemented the Charli XCX track, creating a fun and kid-like feel. The key was to keep everything upbeat, using tones and rhythms that were playful to enhance the feel of imagination.

LBB> Did you draw on any particular sources of inspiration, such as other festive campaigns etc to develop the sounds for this ad?

Sean> For the kaleidoscope scene where Coral is surrounded by Furbys, it reminded me of the aliens in Toy Story ('The Clawwww'). This inspired me to create my very own 'toy choir' a collection of me singing various harmonies. Since this scene happens just before Coral is pulled back to reality, I wanted to build a crescendo to heighten the moment and make the transition feel more dynamic. It’s one of those sounds that’s subtle at first, but once you hear it, you’ll never un-hear it!

LBB> Could you walk us through your process for refining the sound design? How many versions did you go through, and were there any unexpected last-minute changes?

Sean> Once I completed the first pass of the sound design, the team came into the studio, which I always enjoy since it's great to collaborate with everyone in the room. From there, the process mainly involved making minor adjustments to the mix to ensure everything felt balanced. We were all on the same page from the beginning, which made everything flow smoothly, so there weren’t many major changes.

LBB> How do you personally measure the success of sound design in an ad like this? What makes you feel proud of your work on this project?

Sean> I tend to measure the success of my sound design by how closely the final mix aligns with what I was initially hearing in my head. I usually avoid listening to the mix immediately after finishing because it’s easy to get too into the project, sometimes you can’t see the wood for the trees. Giving it some breathing room lets me hear it with fresh ears, more like the audience would. When I finally heard this project on air, I felt pretty happy with how it turned out!