JUNE 2024
Kuba Pietrzak is a critically acclaimed and award-winning sound director, multi-instrumentalist, composer, supervising sound editor and re-recording mixer.
He worked on, among other projects, the short animation ‘The Cathedral’ (Academy Award nomination), ‘Fallen Art’ (British Academy Award BAFTA), ‘Swimming Pool’ (awarded at the 40th Gdynia Feature Film Festival), the trailer for ‘Gods’ (Golden Trailer Awards nomination), a series of cinematics created for The Witcher 3: Wild Hunt (KTR Award, among others), and the trailer of Cyberpunk 2077 (CLIO Award, Music+Sound Award).
A graduate of the Department of Sound Engineering at the Fryderyk Chopin University of Music in Warsaw with over 20 years of experience in the realm of audio post-production, music composition, and other aspects of sound design.
In 2022 Kuba was honored with the KTR Hall of Fame 2022 award, recognizing individuals particularly distinguished in the Polish advertising industry.
Over to you, Kuba…
MASA: What initially drew you to the world of sound design? Can you describe your journey from starting out to where you are today?
KUBA: It all started at the Fryderyk Chopin University of Music in Warsaw, where I studied Sound Engineering. Over the past 20 years, I have honed my craft in the Polish advertising industry, working on countless projects. A pivotal moment in my career was teaming up with Adam Tunikowski in 2009 to build a sound studio within Juice, one of Poland's leading post-production houses. Our collaboration continues to thrive to this day.
MASA: You’ve done some incredible work on the Cyberpunk 2077 trailers, one of which won you a MASA in 2020. Can you tell us about any notable experiences while working on them?
KUBA: Designing sound for projects that depict futuristic, dystopian visuals is a fascinating challenge.
Imagine creating the sound of devices, weapons or technologies that do not exist in our current world—this requires a blend of imagination, technical expertise, and a deep understanding of the project's narrative and visual elements. Each sound must feel plausible within the context of the setting, enhancing the viewer's immersion and suspension of disbelief.
For instance, when working on the Cyberpunk 2077 trailer, we had to envision and create sounds for urban landscapes filled with futuristic gadgets and advanced technologies. These sounds needed to convey not just the mechanics but also the atmosphere and mood of a dystopian future. It involves exploring new sonic textures, experimenting with synthesis and processing techniques, and sometimes even predicting how technology might sound in the years to come.
CYBERPUNK 2077 — Official Cinematic Trailer | E3 2019:
MASA: It would be great to hear about your advertising work. Can you describe a recent project you worked on that you're particularly proud of?
KUBA: Advertising has been a central focus throughout my career, sparking a continuous passion for creative sound design. One of my recent projects that stands out is for Żubr, a Polish beer brand (eng. European bison), where with a team we embraced a minimalist approach to sci-fi, UFO-inspired sound. This project allowed my team to experiment with unconventional soundscapes, using sparse yet impactful elements to support the brand's image. You can watch the video here…
MASA: Are there key ways in which your approach to sound design differs for advertising, trailers, and film projects?
KUBA: Absolutely. Trailers require dynamic shifts and tension-building without revealing the entire story. They're crafted with powerful, succinct sounds to punctuate key moments, whereas advertising and film projects allow for a more nuanced exploration of soundscapes that complement the narrative arc.
MASA: Thinking back on your projects, can you tell us about a sound element you designed that pushed your technical skills to the limit? How did you approach the challenge and what was the final outcome?
KUBA: Designing sounds for personified animals in the Żubr brand always challenged me creatively. Similarly, creating the soundscape for The Witcher trailers and Cyberpunk trailers demanded technical finesse to match their fantasy and futuristic themes.
THE WITCHER 3: WILD HUNT – Killing Monsters Cinematic Trailer:
CYBERPUNK 2077 – Phantom Liberty:
MASA: What tools and software are essential to your sound design process?
KUBA: ProTools is my go-to, complemented by a wide array of plugins. I also rely on recording sounds that undergo transformation during post-production. However, I believe the most crucial tool remains imagination—it drives innovation and creativity in sound design.
MASA: Looking towards the future, what exciting advancements do you see in sound design technology?
KUBA: Advancements in computational power are revolutionizing real-time sound processing, raising the capabilities of sound designers like never before. Tools leveraging generative AI are opening new doors for physical sound modeling and advanced dialogue processing.
MASA: What are some of your upcoming projects or areas you'd like to explore further in your career?
KUBA: While I can't disclose specifics due to NDAs, I'm eager to explore linear forms within game development—cinematics, trailers, and cutscenes offer immense creative potential. Additionally, projects integrating PR and virtual environments through headsets present exciting opportunities to innovate in sound design.
MASA: And lastly, what will you be looking for when judging? What makes a piece of work worthy of a Music+Sound Award?
KUBA: As a juror, I'm excited to engage with projects and their creators. I'm looking for works that not only impress technically but also resonate emotionally, setting new standards and inspiring future innovations in sound design.
MASA: Kuba, your passion for your work truly shines through. Your unique perspective will be a huge asset to the jury this year. Thanks so much for joining us!
Visit Juice’s site HERE
