JOE FILMS
A small team, new-age creative agency specialising in motion picture and film - from TVC's to online campaigns - and headed by Dan Mace, a prolific, multi-award-winning young film director based between South Africa and the United States.
PRODUCERS
RAINE GRUNAU
SARAH KOZLOWSKI
CHRIS MACE
DAN MACE
JAROD ALLIES
DIRECTORS
DAN MACE
LUKE VEYSIE
​
EDITORS
LIAM COCKCROFT
MARTA DEL RODARIO
LUC RAMSEN
CHRIS MOORE
​
MUSIC
JASON WINDE
IMMERSIONS
Tour of Terror
"This Halloween, immerse yourself in the hauntings and horrors of four ghostly sites. Helmed by award-winning filmmaker and YouTuber Dan Mace, this tour gives you a firsthand excursion into the world of the paranormal." - Amazon
​
Cosy Holiday Kitchens
"Step into the kitchen and experience festivity through food when you prepare meals with chefs from India, Mexico, Ethiopia and the United States." - Amazon
​
Little Big Worlds
"Inspired by the movie "Honey, I Shrunk the Kids," find out what it's like to see everyday items gigantic in size. Move through plants and flowers in the garden, through small openings and over different foods in this larger than life world." - Amazon
TV SPECIALS
RUNTIMES : 60 MIN
BRIEF
The client's concern was the short turnaround for such detailed work. LBW's sound, for example, would be completed in less than 4 days. We would have to be detailed and impactful yet very fast.
RESEARCH
Our research for TOT was done around classic horror films and took strong inspiration from the Blair Witch Project, whereas the sound design for LBW and CHK was inspired by the slow-motion scenes in shrinking movies of the 90s.
Additionally, we took tips from the more modern YouTube slow-motion entertainment where the sound design is so detailed.
OUR EXECUTION
To address the time constraints, we focused on sourcing library sounds. These sounds were chosen, layered, and treated to convey the right message.
Our workflow was altered to promote efficiency while not sacrificing quality.
As per the brief, all three pieces would focus on foley. Location recordings were emphasised or sweetened with sound effects. This was especially important for TOT.
We used foley to raise anticipation with slight scares. But, the other two productions had no location audio since the footage was slowed. This gave us full control to be creative with sound design.
​
Despite working fast, we did not lose detail in our sounds. The detail was essential to the message of the films.
"If it moves, it gets a sound."
For brevity’s sake, we'll not mention in detail our efforts to use motifs in our sounds. The rises and falls in intensity. Our sonic relationship with the editor’s vision, or even our abstract sound treatment.
Our aim was to hold the attention of the audience for the entire runtimes of the pieces. While there was no narrative or characters, we tried to create them with sound.
GOING FORWARD
We learned a lot as a team about how to alter our workflow based on the needs of the client and the message of the film. As a result, we feel that we are more equipped to deal with changing environments.
We wished we had more time to dive even deeper into the immersive worlds of these films but as we continue to work with JOE Films and Discovery Plus, we hope we'll get a chance again in the future.
