Credits/Copyright:

2015-2017 Behaviour Interactive Inc. All rights reserved. Published by Starbreeze Publishing AB. Dead by Daylight and their respective logos and registered trademarks of Behaviour Interactive Inc. All other trademarks are properties of their respective owners.

ALL VISUAL CONTENT ARE CREDITED TO BEHAVIOUR INTERACTIVE INC. (BHVR)

INTELLECTUAL PROPERTY

A. CONTENT

“Content(s)” as used herein includes (1) software, software updates or patches, or other utilities and tools from BHVR or its licensors (“BHVR Software”) and (2) other software, technology, text and audio visual material, as well as the design and appearance of the Store and Products. The foregoing includes, without limitation, computer code, titles, objects, artifacts, characters, character names, locations, logos, images, text, illustrations, designs, icons, photographs, names, stories, story lines, dialogue, catch phrases, artwork, graphics, structural or landscape designs, animations, sounds, musical compositions and recordings, audio-visual effects, characters and character likenesses, user accounts, methods of operation, video clips and written and other material that appear on the Store and/or in BHVR’s video games. Content is provided by BHVR and its. The Contents are copyrights, trademarks, and/or other intellectual property owned, controlled or licensed by BHVR, one of its affiliates or by third parties who have licensed their materials to BHVR, and are protected by Canadian and international copyright laws.

Synopsis:

“DEAD BY DAYLIGHT”

“Dead By Daylight” is a stereo A.V screening. It is a cinematic experience which explores the horror genre inside of gaming. Composed of self organised imagery made in iMovie, sourced from pre-existing material of the titled Horror Game “Dead By Daylight”, this screening presents the current game with reimagined and redesigned self made sound. To make this project possible, I worked in Logic Pro X on my laptop for the entirety of this project and recorded all Foley sounds and objects with my IPhone 11. The results ended with creating over 150 audio tracks for the Sound Design and Foley. The music concluded with 55 MIDI tracks, all consisting of individual instruments. All in all, I worked with over 200 tracks with individual channels constructed, in order to create this project.

All audio that is heard is self produced; from creating the musical composition to the Foley and Sound Design.

All visuals were pre-gathered material converted from YouTube via the “Dead by Daylight” YouTube Channel. ALL VISUALS BELONG TO BEHAVIOUR INTERACTIVE INC. INCLUDING LOGOS AND TRADEMARKS.

Artist Statement: About the Artist and Artists Work

South East England based sound designer, Foley artist and composer, Ana-Lucia Needham Mcguinness, has been honing her skills and knowledge in Digital Music & Sound Arts professionally for the past six years. Originally a musician, Ana-Lucia blended her compositional skills and her fascination for sound to bring about a perfect marriage of her two passions.

Ana-Lucia’s evolution into Digital Music & Sound Arts allowed her to introduce another element to this union and extend the range of her talent even further. Her use of hyper-realistic sound allows Ana-Lucia to challenge the effectiveness of sound on screen itself – utilising this type of sound style to tell stories and immerse the viewers, she explores the depths of sound believability, movement and composition on screen.

Ana-Lucia’s audio-visual work takes a critical view of the social behaviour toward image and sound relationship. Often taking inspiration from hyper-realistic sound designers, directors, and Foley artists, her work explores the varying relationship that can occur between sound and image, also known as “The Audiovisual Contract”. While she uses a variety of sound materials and technical processes in each project her methodology is consistent. Although there may not always be material similarities between different projects they are linked by the recurring term of “The Audiovisual Contract” and through the subject matter. The subject matter of each body of audiovisual work determines the materials and the forms of the work. Each project often consists of multiple sound works, often in a range of different audio material and musical sections grouped around specific themes and meanings. During each audiovisual project and production new areas of interest arise and lead to the next body of work.