Client / Coca Cola
Project / Dreamworld
Agency / weareseventeen
Music & Sound Design / Box of Toys Audio
Coca-Cola Creations continue their prismatic exploration of flavour with their latest flight of fancy, Coca-Cola Dreamworld. Imagination bursts into reality in this surreal and otherworldly campaign, created in conjunction with London based creative studio weareseventeen.
Box of Toys Audio were invited to conceptualise and create the sound of Coca-Cola’s Dreamworld. The Dreamworld is a realm populated by ‘blobjects’; imaginary objects made of imaginary materials that act in unpredictable ways. While the Dreamworld is a realm unto itself, the blobjects (essentially figments of our imagination), cross the threshold into our world via the means of portal doorways. Our challenge was to create the sound of the blobjects at play in both the Dreamworld and the real world.
We were involved in the development process from the outset. In the initial stages weareseventeen developed a number of blobject motion tests to demonstrate how they might move and interact with their environment. From fluffy balls to bouncy clouds, we created sounds that complimented the tests by giving weight and presence to the blobjects. Many of these sonic and motion experiments were promoted to the final sequences and can be seen and heard across the campaign.
Our blobject exploration included original recordings of all manner of balls, balloons, rubber sheets and tinsel, some of which can be heard below. These were combined to create a rich library of source material to draw from when we came to illustrate the sounds of the Dreamworld blobjects.
Of course, the sound design did not miss the opportunity to characterise the star of the show, Coca-Cola itself! We wanted the personality of the soft drink to be served throughout the Dreamworld. Bespoke recordings of Coca-Cola were built into the textures and movement of the films, with fizz, sparkle and fsshhhhh being featured heavily throughout.
While the real world ambiences were constructed to sound very life-like, imperfect and something you might catch on a phone camera, the Dreamworld ambience was quite the opposite. Lush ambient synth textures poured from an Arturia synth were used as the mixer for all the Dreamworld sequences. The aim was to avoid leaning too far into dark or light, but instead imbue a sense of the surreal and hypnotic. Synth elements were also finally used to create the Dreamworld sonic ident, a sign off that helps bind the varied deliverables as members of the same campaign.