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 sound 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. Selected 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, including the paint roller and footsteps, were also time-warped to match on-screen movement. 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 worked on the audio in Nuendo. I edited and cleaned the audio, added automation, and applied various types of processing, including EQ, dynamics, spatialization, and distortion. The narrator's voice was mixed to match the director's intent.

This was my first university coursework project as a sound designer, created in Reaper. The goal was to capture the atmosphere and mood of the trailer using the provided sound libraries. The project contained 128 tracks, including music, textures, and noise elements, all sourced from the library. For each scene, I developed detailed sounds and textures to create the impression that the trailer had been cut from a full-length film. I spent approximately two weeks working on the project.

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 as part of 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 within it. 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 in Unity, using WebGL, React, Electron, and Chromium. The event could be followed via Discord, Telegram and Twitch bots, a Twitch extension, and the event website. The development team consisted of around 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 more than 900 voice-over tracks.

In early builds, we prototyped the audio using FMOD, but ultimately dropped it after encountering language conflicts and performance issues between the middleware and the project's WebGL, React, Electron, and Chromium stack. I then aimed to achieve the highest audio quality the resulting native setup could support within the project's technical constraints. During gameplay, brief micro-loads could prevent certain sounds from playing, a limitation of the project's architecture that could not be resolved within the current build. Some additional sound elements I wanted to implement therefore 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 game 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 under 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 am developing the game's sound design using FMOD, integrating events and snapshots into Unity through scripting, and have edited, mixed, and cleaned 170 voice-over tracks so far.

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, including 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 overall goal was to create a cohesive and engaging audio experience that supports the game's visual feedback and gameplay.

I sound-designed a 16-second Roman execution scene from the game «Legatus» in Reaper. The work included individual footsteps for each NPC on screen, layered environmental ambience, crowd audio, a sword swing, the execution sequence, 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's world.