Anton Pimenov

This excerpt from The Pursuit of Happyness (2006) was sound-designed from scratch in Pro Tools to demonstrate the creation of natural, film-realistic ambient soundscapes. All material was sourced from free libraries. Sounds were tightly synchronized to picture, immersed in the reverb of each environment using Audio Ease Altiverb, and automated for level, panning, EQ, and reverb. Certain sounds were cleaned of noise and artifacts in iZotope RX, equalized with FabFilter Pro-Q 4, and transient-processed using Native Instruments Transient Master. Specific sounds, such as the paint roller and footsteps, were also time-warped to match on-screen motion. The final master was processed through the Abbey Road TG Mastering Chain and limited with FabFilter Pro-L2 to meet EBU R128 standards (−23 LUFS integrated, −1 dBTP).

After receiving the AAF project containing ambiences, Foley, SFX, voice tracks, and music, I started working on the audio in Nuendo. I did the audio editing, added automations, and applied various types of processing such as EQ, dynamics, spatialization and distortion. The narrator's voice was mixed to match the director's intent.

This was my first coursework project as a sound designer, created in Reaper. The challenge was to capture the atmosphere and mood using the provided sound libraries. The project contained 128 tracks, including original music, textures and noise elements, everything from the library. For each scene, I developed detailed sounds and textures as if the trailer were cut from a full-length movie. I spent about two weeks working on it at a slow pace.

This project was my first experiment with Dolby Atmos in Nuendo, created as part of a university assignment. The music for the trailer was composed, produced and mixed using the Kontakt library and synthesizers.

This short video sample was created in Reaper for a university assignment focused on realistic sound design. The task was to build a natural soundscape from the camera's perspective using a provided sound library, with pitch and volume automation applied to enhance the realism of the passing car.

About the game: The game was created for top CIS Twitch streamers. It was a two-month real-time strategy event in which streamers played the game and needed to complete other games to make moves in our game. Streamers could upgrade bases, complete quests, interact with items and inventories, recruit partners into a family, capture territories, and more.

About game development: The game was developed on the Unity engine, using WebGL, React, Electron and Chromium. You could follow the event via Discord, Telegram and Twitch bots, the Twitch extension, and the website. The development team consisted of about 15 people.

My duties: I served as Sound Designer.

I created the game's sound design, partially integrated sounds into Unity (including scripting), and edited, mixed and cleaned up more than 900+ voice-over tracks.

In early builds we prototyped using FMOD, but dropped it after running into language conflicts and performance issues between the middleware and the project's WebGL, React, Electron, and Chromium stack. I aimed for high audio fidelity within what the resulting native setup could support - occasionally, brief micro-loads during gameplay prevented certain sounds from playing, a limitation of the project's architecture that couldn't be fixed in the current build. Some sound elements I wanted to add remained unimplemented for the same reason.

Work performed: audio editing, cleaning and voice mixing.

All VO material was sourced from the MGE game. The examples shown are only a selection of more than 900 VOs of different voices and characters (most are in the Meetings category).

About the game: This game is being developed for top CIS Twitch streamers. The event is an asynchronous strategy with roguelike elements and will last for one month, during which streamers will share the common goal of clearing all sectors by completing other games with specific conditions. Streamers will be able to upgrade their shared and personal bases, collect resources, interact with items and inventory, capture sectors, and more.

About game development: The game is being developed using the Unity engine and the FMOD audio engine. The development team consists of around 12 people.

My duties: I work as a Sound Designer.

I develop the game's sound design using the FMOD audio engine, integrating events and snapshots into Unity (including scripting), and edited, mixed and cleaned up 170 voice-over tracks.

I fully sound-designed a 1.5-minute gameplay fragment of the «Invaders Megaways» slot in Reaper, covering 18 distinct sound cues across four categories: base game, head element, free spins, and notifications.

Background music was composed as seamless loops for two separate game locations. The goal was to avoid stock samples and instead create original sounds from scratch or from recorded material, using Serum and Falcon as the primary synthesis tools.

The sound design covers symbol upgrade events (Wild, 2x Wild, Laser, and Alien animations), scatter mechanics with per-reel stereo pan automation across all six reels, UFO selection and laser shot events with reel-position panning, bonus expansion and contraction transitions, and win notifications. The aim was to create an exciting and enjoyable audio experience that makes players want to return to the game.

I sound-designed a 16-second Roman execution scene from the game «Legatus» in Reaper. The work included individual footstep sounds for each NPC on screen, layered environmental ambience, crowd audio, a sword swing, the execution moment itself, and a brief atmospheric musical underscore. All material was sourced from various sound libraries and processed to match the realism and tone of the game world.