Deepwater Horizon Movie Sound Asbjoern Andersen


The Deepwater Horizon accident was a devastating disaster for the environment in the Gulf of Mexico. And now, the Deepwater Horizon movie tells the story of just what happened on that fateful day on the oil rig, from the crew’s perspective. The movie features Mark Wahlberg, Kurt Russell, Gina Rodriguez, John Malkovich and Kate Hudson, and is currently number 2 at the US box office.

The Deepwater Horizon sound team was led by supervising sound editor Wylie Stateman – and here, sound designer/re-recording mixer Dror Mohar tells the story behind the dramatic sound for the movie:


Written by Jennifer Walden, photos courtesy of Dror Mohar and David Lee





Deepwater Horizon (2016) – Official Teaser Trailer - Mark Wahlberg


The teaser trailer for Deepwater Horizon


 

Creating a dramatic film about a historical event is tricky business. A story is a very powerful thing. It has the power to rewrite events, turning villains to heroes and vice versa, depending on the perspective of the storyteller. Director Peter Berg, known for the biographical action film Lone Survivor, takes on the Deepwater Horizon disaster. In what light will he paint this event in his film? For the sound team, led by supervising sound editor Wylie Stateman of Twenty Four Seven Sound, Deepwater Horizon presented an interesting landscape.

The oil rig was a 29-story machine that never stopped. It was a mad-made island surrounded by the sea. It was a temporary home for the crew employed to keep it running. Sound designer/re-recording mixer Dror Mohar, at Technicolor in Hollywood, CA, has been a long-time collaborator with Stateman. In addition to Deepwater Horizon, they’ve created sound together for films like Lone Survivor, Django Unchained, and Inglourious Basterds. Here, Mohar shares his story of creating the mechanized world of Deepwater Horizon and designing its destruction too.
 

How was this film a unique experience for you?

The story of the disaster onboard the Deepwater Horizon and its implications is extraordinary. It’s an important story that demands answers to difficult questions regarding the means and ends of our energy industries – it was also a very ambitious cinematic undertaking. For both these reasons, being a part of it was an inspiring experience.

It’s an important story that demands answers to difficult questions regarding the means and ends of our energy industries

In terms of sound, creating a sonic vocabulary that describes the technology, human trials and incredible forces of nature was an intense and uniquely satisfying journey. For the first half of the project, I worked with Peter [Berg], Colby [Parker], and Gabriel [Fleming] at their picture cutting room where we worked in short, intense bursts to explore sound elements, designs, and treatments that speak to the identity of the story. This collaboration was very special in that the rapid exchanges led to picture, sound, and visual effects constantly informing one another. It was an opportunity to push the definition of storytelling both within the frame and beyond it.


Dror Mohar on the Deepwater Horizon mixing stage

Dror Mohar on the Deepwater Horizon mixing stage


 

What were some challenges you had in creating the sound design?

The film involves a lot of technical information, destruction and action sequences that hand off to one another. In terms of sound, these are components that can quickly saturate the experience and the biggest challenge was to design and choreograph the sound in ways that would immerse, but not exhaust, the audience. This meant a lot of experimentation with size, weight, tonal character and where sounds start and stop. It was a task that we carried out all the way to the final printmaster.

The biggest challenge was to design and choreograph the sound in ways that would immerse, but not exhaust, the audience

The designs were tailored to describe the extreme conditions onboard the rig, inform the audience of the technology of oil drilling and express the specifics and magnitude of the destruction. As far as the choice and placement of sounds – or their absence – the focus was twofold: to ensure that the sound effects never overpowered the human experience of the crew and to clearly articulate the implications of mechanical failures.

One challenge was to create acoustical space, since the geography of the story happens in two very isolated locations: on the ocean floor, five thousand feet underwater, and up on the rig platform in the middle of the ocean. In order to express scale, speed and distance, some of the design favored feeling over sound accuracy.
In terms of rig mechanics, we needed to establish the sounds and functionality of the rig’s components under normal conditions and later under overloaded conditions. The rig’s navigation system, engines, pumping systems and BOP (blow out preventer) on the ocean floor all needed to be established and become quickly familiar to the audience.


Popular on A Sound Effect right now - article continues below:


Trending right now:

  • Destruction & Impact Sounds Cataclysm Play Track 1482 sounds included $195

    Cataclysm is a vast collection of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.

    The recorded section of library features elements such as flash powder explosions, propane cannon blasts and artillery cannons recorded in unique natural environments with violent transients and lush, long and varied tails. It also features falling trees, forge burners, large trebuchet wood groans, rock smashes as well as more ordinary items recorded and designed to feel like an over the top version of themselves such as vacuum cleaner suctions, metal vase holders, ground pounders and more.

    The synthesized section of the library features equally rich textures in the form of explosion sweeteners, other-worldly environmental reflections, scorching energy risers and more.

    Finally, recorded and synthesized content was employed to develop the designed section, where the hyperrealism of the recordings meets the clean yet aggressive textures of the synthesized section in catastrophic assets themed around the library’s title.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
  • Music Impressionism Play Track 100 sounds included $5

    Impressionism, masterfully crafted by Ni Sound, is a captivating collection of 100 textural music tracks inspired by the evocative soundscapes of Monument Valley and Journey. This cinematic anthology weaves intricate layers of string ensembles, harp, piano, synthesizers, and flute, creating immersive soundscapes that evoke themes of healing, epic grandeur, warmth, and haunting suspense. Tailored for documentaries, art games, advertisements, and projects inspired by literature, Impressionism invites listeners into a world of introspection, adventure, and profound emotional depth.

    Delivered in pristine 96 kHz WAV format, every composition undergoes professional post-production mastering, ensuring exceptional clarity and impact. With a total duration of 2 hours and 26 minutes, Impressionism is the perfect choice for creators seeking to enchant audiences with sophisticated, emotionally resonant sound.

    Additional Features:

    • Easy to use, drag and drop ready
    • AAA mixing and mastering
    • free updates to higher versions, Forever!

    Technical Details:

    • 100 audio files
    • wav format: 24Bit 96khz
    • unpacked size: 5.09GB
    • total run time: 2h 26m 16s

    The content of our sound fx library is free for use in commercial or non-commercial sound production purposes.

    90 %
    OFF
    Ends 1793487599
  • FOR THE HIGHEST DEMANDS – YOUR COMPLETE SOUND LIBRARY
    This is the ultimate collection for professional and high quality sound design. All 89 original BOOM Library packs guarantee you the right sound at the right time for professional post-production, trailers, games, movies, TV shows and anything else that needs a striking sound design.

  • Cats are remarkably expressive creatures. And capturing their voices can be a daunting task. Not anymore…

    The “Meow” sound library provides all the core cat vocalizations you'll need in a single package.

    Using 11 different cats cherry picked for their characters, this library provides over 272 vocalizations for your productions.

    From sweet mewls, to longing cries, or vicious shrieks, this library has got you covered.

    This library also includes the Sonic Worlds “CAT” sound pack.

    Meet the beasts:

    JASPER
    A lunatic Calico. A treasure trove of enraged vocalizations.

    AFORI & FANGS
    Sweet natured Russian Blues for that soft gentle character.

    BASTARDO
    A nasty mean tomcat, hence his name. A Tabby with a rich growl.

    BOGART
    Deep threatening growls and hisses. A Ginger in a foul mood.

    GINGY & LUCIFER
    Whiny sounding Ginger cats. For those hungry begging cries.

    JESSICA
    Classic meows that work like a charm.

    MARTY
    A sad sounding Tabby cat. For those longing mewls that will break your heart.

    SWEETY
    An absolute sweetheart black cat. Purry meows galore.

    Cat sounds included:
    ● Screeches and Shrieks
    ● Snipes
    ● Yelps
    ● Mewls
    ● Cries
    ● Purrs
    ● Growls
    ● Grumbles, Groans and Moans
    ● Whining and Begging
    ● Hisses
    ● Squirms
    ● Meows in a huge variety of characters
    ● And more…

Latest releases:

  • Drones & Mood Sound Effects Pipe Noise & Flow Play Track 131+ sounds included, 233 mins total $54

    Pipe Noise & Flow is a sound effects library built around the hidden voices of pipe systems, large and small. Captured over several years across industrial plants, residential buildings, factories, sewers, underground tunnels, caves and public infrastructure, this collection brings together a wide range of sonically rich material.

    You’ll hear water, gas, and air moving through pipes made of metal steel, copper, aluminium, plastic, glass, concrete, and stone. There are massive flows and subtle trickles, bursts of pressure, hollow resonances, eerie whistles, and the strange tonalities that emerge when systems crack, leak, or fail. Many recordings feature broken or deteriorating pipes, full of texture and unpredictability. While there is plenty of industrial and subterranean grit, you’ll also find more subtle sources like kitchen sinks, bathroom plumbing, and everyday interior systems; sounds that can lend realism or eeriness to intimate scenes.

    This library is designed to be flexible and inspiring. Use it to create detailed ambiences for sci-fi, horror, and post-apocalyptic settings, to build layered mechanical textures for machines and user interfaces, or to design unique elements for hybrid weapons, alien devices, strange creatures or abandoned environments. Whether you need the realism of urban infrastructure or the surreal qualities of a forgotten machine, Pipe Noise & Flow offers an unexpected toolkit full of possibility.

    Pipe Noise & Flow - Audio Demo Spectrogram

    What’s inside:

    • Flowing water, rushing air, and gas movement through pipes
    • Large industrial pipes, small tubing, and flexible hoses
    • Pipes made of metal, iron, copper, aluminium, plastic, glass, concrete, and stone
    • Broken, leaky, and deteriorating pipes with rich textures
    • Interior plumbing: kitchen sinks, bathroom drains, home radiators
    • High-pressure bursts, trickles, drips, and hissing valves
    • Tonal and pitched pipe resonances, drones, and hums
    • Mechanical rattles, clangs, gurgles, and thumps
    • Subterranean ambiences and underground utility spaces
    • Studio performances exploring controlled flow and resonance
    • Eerie whistles and howling vents for otherworldly design
    • Abstract textures and tonalities ideal for creature sound design
    • Inspiring source material for sci-fi, horror, fantasy, and surreal soundscapes
    • Useful elements for user interface design, machine textures, and hybrid weapons
    • Ready-to-layer assets for creating atmospheres, backgrounds, and special effects
    28 %
    OFF
  • Ambisonic City, Suburbs, Rural Ambiences in B-format (ambix) and binaural.

    Ambiences of the city, suburbs and rural areas. Many sound perspectives and situations. Long recordings, over 20 GB of recordings. Please check the sound list for additional info.

    Recorded with Sennheiser Ambeo VR microphone and Sound Devices Mix Pre 10-II, 744T recorder. See the track list for additional info.

    The download contains each recording in B-format (RAW-4ch.) and as Binaural Stereo files. The audio preview is binaural and should be listened to with headphones. All files are tagged with Metadata.

    19 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

  • Footsteps Sound Effects MachinEra: Robotic Movements Play Track 166 sounds included, 3 mins total $54

    A dynamic collection of robotic sound effects capturing the essence of synthetic motion—from heavy mech footsteps to agile servo twitches. Organized into Robot_Big and Robot_Small, this pack delivers detailed mechanical gestures that give life and character to any robot—ideal for film, games, animation, and futuristic sound design. Bring your bots to life with authentic movement, precision, and personality.

    MachinEra: Robotic Movements Sound Effects Pack

    🤖 What’s Inside?
    ✔️ Robot_Big: Heavy robotic footsteps, mechanical stomps, structural clanks, and full-motion sequences for large-scale machines.
    ✔️ Robot_Small: Servo-driven motions, nimble joint movements, mechanical twitches, and intricate robotic details.

    Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.

    27 %
    OFF
  • Sci-Fi Sound Effects MachinEra: SciFi Engines Play Track 284 sounds included, 41 mins total $74

    A high-octane collection of sci-fi engine sounds designed to power futuristic vehicles, starships, drones, and advanced machinery. With layered boosts, charged accelerations, and energetic propulsion, this pack delivers cinematic engine sounds with punch and scale—perfect for games, trailers, film, and sci-fi storytelling. Give your machines the roar of tomorrow.

    MachinEra: Sci-Fi Engines Sound Effects Pack

    🚀 What’s Inside?
    ✔️ Engine Boosts: Aggressive power surges, acceleration bursts, energy charges, and propulsion blasts.
    ✔️ Sci-Fi Motions: High-velocity thrusts, futuristic drives, and stylized engine pulses.

    Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.

    21 %
    OFF
Need specific sound effects? Try a search below:


What was the first sound you tackled for this film?

The design I tackled first was the opening sequence. The scene takes us down the pipe to the bottom of the ocean, revealing the BOP. This was a great introduction to the filmmakers’ stylistic approach. They were determined to have the audience “be the camera” to see what is going on under the hood. This also inspired the idea to use sections from the original recordings of Mike Williams’ original testimony as the very opening of the movie which we play over the opening titles.
 

How did you go about designing the mechanical elements, like the thrusters for example? Were those sounds created using sounds from libraries? Did you record any sounds in the field?

The mechanical sounds evolved and changed over time. Some of the machinery came from original recordings and some were a combination of recorded source together with design. I did a field recording in a port in Israel where I got access to pumping facilities and ships; these served as a great base for a lot of the industry we hear on the rig. For some of the big set pieces, I added a layer of design elements to inform a sense of weight, movement, and energy.
deepwater-horizon-recording-fluids_
Expressing size and weight was tricky because details that I would have ordinarily omitted were necessary in order to understand functionality. The solution was to consider cause and effect. Favoring the reaction of the environment to an event in the design created the impression of width and weight while making room for specifics. This was done in the form of structural vibrations, impacts on the rig, echoes to the PAs, tonal elements to the underwater environment, and water movement to express the force of the underwater mechanics. In the case of the thrusters, the final sound is a combination of elements that Wylie Stateman (supervising sound editor) designed with Harry Cohen, Sylvain Lasseur and myself.
 
[tweet_box]How the dramatic, intense sound for ‘Deepwater Horizon’ is made:[/tweet_box]  

The oil rig is surrounded by water. How did you use the ocean in your design? What was your approach there?

In terms of the elements that contributed to the disaster, the ocean itself was not a major player. On the day of the Deepwater Horizon disaster, the sea was actually calm. The lack of water turbulence was a very valuable tool. It presented the opportunity to use it exactly as that, as an element of quiet and calm to counter the chaos. This was very effective in the wide shots of the rig where the sounds speak to the vastness of the geography and isolation of the rig in contrast to the violent water at the bottom of the moonpool and the rushing water inside the lower decks after the explosion.
 

On the oil rig, things are breaking down and exploding apart. How did you approach the different types of explosions in the film?

As with other elements of the story, the main focus was to clarify what the different explosions meant for the loss of control over the rig. Each breakdown, system malfunction or overload was given specific attention using a variety of elements. More important than the blasts themselves were their sources – each called for a different treatment. The first two major explosive events were the ‘kick’ and blowout, where pressure sent mud blasting out on the drilling floor. Here, the focus was on pressure and the force of the particles. The next major explosive events involved methane gas. The gas accelerated the engine to the point of overload and that is when fire exploded through the lower levels of the rig that resulted in an atomic-like explosion. This explosion is designed to be a massive, instantaneous eruption.


Fire recording for deepwater horizon

Recording fire sounds for Deepwater Horizon


 

How did Foley play a role in the sound design for the explosions and breakdowns?

Foley Supervisor Gary Hecker (at Sony Pictures Studios) provided us with a great palette of sounds. The Foley component was used in the designs to add visceral detail. Gary’s performances were great, both in the explosions and the portraits of the lead characters as they wade through the debris across the rig.
 

Any favorite audio tools for this film? Can you give some specific examples of how you used them?

As far as plug-ins and instruments go, I would say that my main tool was a series of processing chains of saturation, distortions, delays, futzing and low end. I used these in creating textures, hard edges and mass for things like the PAs, explosions and underwater movement. That said, I am more of a story guy than anything else. At the top of my list for gear is always a field recorder, great monitors and a good sounding room where, together with the filmmakers, I can shape sounds and make choices that stand the test of time. I look to find a singular sound signature that creates a connection to the visuals.

On the Deepwater Horizon oil rig

You got to do the sound design and then keep your hands on it through the mix. Is that natural for you? Do you feel it’s easy to make decisions about your sound design during the final mix in regards to what elements serve the story best?

Mixing is not only an extension of the editorial design process, it is an inseparable part of the design of the sound experience. Everybody does it differently. For me, it’s about when to listen and when to let go and just hear. To me, listening is about the sound and hearing is the perception of the entire experience. It’s a bit of a dance.
Maybe it’s just semantics, but the point is to pay attention in different ways to determine how it all feels together – to determine how the track performs.

To me, listening is about the sound and hearing is the perception of the entire experience

As far as making decisions on the stage, I am not precious about any sound that doesn’t work for the story – losing it is not a compromise, rather a step forward. That said, nobody is perfect and a great mixing partner will always help balance me out.
Being intimate with the material is a strength in the mixing chair – it lends to knowing what elements to reach for as we shape the track against dialogue, music and the intentions established by the filmmakers.

I do it with my own material so I wouldn’t hire someone like me if I were not mixing. Instead, I would get a great mixer who is a great storyteller that has serious technique and experience under his belt. Sometimes that’s better for the film. A full-time mixer brings to the table very different things than I do – we overlap but don’t replace one another.
 

A big thanks to Dror Mohar, Wylie Stateman and the sound team on Deepwater Horizon for the story behind the sound – and to Jennifer Walden for doing the interview!

 

Please share this:


 



 
 
THE WORLD’S EASIEST WAY TO GET INDEPENDENT SOUND EFFECTS:
 
A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • Destruction & Impact Sounds Cataclysm Play Track 1482 sounds included $195

    Cataclysm is a vast collection of recorded, synthesized and designed sounds created to support important destructive moments and add a stronger sense of extreme consequence to any sound.

    The recorded section of library features elements such as flash powder explosions, propane cannon blasts and artillery cannons recorded in unique natural environments with violent transients and lush, long and varied tails. It also features falling trees, forge burners, large trebuchet wood groans, rock smashes as well as more ordinary items recorded and designed to feel like an over the top version of themselves such as vacuum cleaner suctions, metal vase holders, ground pounders and more.

    The synthesized section of the library features equally rich textures in the form of explosion sweeteners, other-worldly environmental reflections, scorching energy risers and more.

    Finally, recorded and synthesized content was employed to develop the designed section, where the hyperrealism of the recordings meets the clean yet aggressive textures of the synthesized section in catastrophic assets themed around the library’s title.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
  • Music Impressionism Play Track 100 sounds included $5

    Impressionism, masterfully crafted by Ni Sound, is a captivating collection of 100 textural music tracks inspired by the evocative soundscapes of Monument Valley and Journey. This cinematic anthology weaves intricate layers of string ensembles, harp, piano, synthesizers, and flute, creating immersive soundscapes that evoke themes of healing, epic grandeur, warmth, and haunting suspense. Tailored for documentaries, art games, advertisements, and projects inspired by literature, Impressionism invites listeners into a world of introspection, adventure, and profound emotional depth.

    Delivered in pristine 96 kHz WAV format, every composition undergoes professional post-production mastering, ensuring exceptional clarity and impact. With a total duration of 2 hours and 26 minutes, Impressionism is the perfect choice for creators seeking to enchant audiences with sophisticated, emotionally resonant sound.

    Additional Features:

    • Easy to use, drag and drop ready
    • AAA mixing and mastering
    • free updates to higher versions, Forever!

    Technical Details:

    • 100 audio files
    • wav format: 24Bit 96khz
    • unpacked size: 5.09GB
    • total run time: 2h 26m 16s

    The content of our sound fx library is free for use in commercial or non-commercial sound production purposes.

    90 %
    OFF
    Ends 1793487599
  • FOR THE HIGHEST DEMANDS – YOUR COMPLETE SOUND LIBRARY
    This is the ultimate collection for professional and high quality sound design. All 89 original BOOM Library packs guarantee you the right sound at the right time for professional post-production, trailers, games, movies, TV shows and anything else that needs a striking sound design.

Explore the full, unique collection here

Latest sound effects libraries:
 
  • Drones & Mood Sound Effects Pipe Noise & Flow Play Track 131+ sounds included, 233 mins total $54

    Pipe Noise & Flow is a sound effects library built around the hidden voices of pipe systems, large and small. Captured over several years across industrial plants, residential buildings, factories, sewers, underground tunnels, caves and public infrastructure, this collection brings together a wide range of sonically rich material.

    You’ll hear water, gas, and air moving through pipes made of metal steel, copper, aluminium, plastic, glass, concrete, and stone. There are massive flows and subtle trickles, bursts of pressure, hollow resonances, eerie whistles, and the strange tonalities that emerge when systems crack, leak, or fail. Many recordings feature broken or deteriorating pipes, full of texture and unpredictability. While there is plenty of industrial and subterranean grit, you’ll also find more subtle sources like kitchen sinks, bathroom plumbing, and everyday interior systems; sounds that can lend realism or eeriness to intimate scenes.

    This library is designed to be flexible and inspiring. Use it to create detailed ambiences for sci-fi, horror, and post-apocalyptic settings, to build layered mechanical textures for machines and user interfaces, or to design unique elements for hybrid weapons, alien devices, strange creatures or abandoned environments. Whether you need the realism of urban infrastructure or the surreal qualities of a forgotten machine, Pipe Noise & Flow offers an unexpected toolkit full of possibility.

    Pipe Noise & Flow - Audio Demo Spectrogram

    What’s inside:

    • Flowing water, rushing air, and gas movement through pipes
    • Large industrial pipes, small tubing, and flexible hoses
    • Pipes made of metal, iron, copper, aluminium, plastic, glass, concrete, and stone
    • Broken, leaky, and deteriorating pipes with rich textures
    • Interior plumbing: kitchen sinks, bathroom drains, home radiators
    • High-pressure bursts, trickles, drips, and hissing valves
    • Tonal and pitched pipe resonances, drones, and hums
    • Mechanical rattles, clangs, gurgles, and thumps
    • Subterranean ambiences and underground utility spaces
    • Studio performances exploring controlled flow and resonance
    • Eerie whistles and howling vents for otherworldly design
    • Abstract textures and tonalities ideal for creature sound design
    • Inspiring source material for sci-fi, horror, fantasy, and surreal soundscapes
    • Useful elements for user interface design, machine textures, and hybrid weapons
    • Ready-to-layer assets for creating atmospheres, backgrounds, and special effects
    28 %
    OFF
  • Ambisonic City, Suburbs, Rural Ambiences in B-format (ambix) and binaural.

    Ambiences of the city, suburbs and rural areas. Many sound perspectives and situations. Long recordings, over 20 GB of recordings. Please check the sound list for additional info.

    Recorded with Sennheiser Ambeo VR microphone and Sound Devices Mix Pre 10-II, 744T recorder. See the track list for additional info.

    The download contains each recording in B-format (RAW-4ch.) and as Binaural Stereo files. The audio preview is binaural and should be listened to with headphones. All files are tagged with Metadata.

    19 %
    OFF
  • All files are recorded 32bit, 192 kHz, with RØDE NTG1, Line Audio Omni1 and FEL Clippy XLR EM272 microphones, Sound Devices MixPre-6 II recorder. Library contains wav files of driving, interior and exterior foley, mechanical and electrical sounds. It is also available in UCS.

  • Footsteps Sound Effects MachinEra: Robotic Movements Play Track 166 sounds included, 3 mins total $54

    A dynamic collection of robotic sound effects capturing the essence of synthetic motion—from heavy mech footsteps to agile servo twitches. Organized into Robot_Big and Robot_Small, this pack delivers detailed mechanical gestures that give life and character to any robot—ideal for film, games, animation, and futuristic sound design. Bring your bots to life with authentic movement, precision, and personality.

    MachinEra: Robotic Movements Sound Effects Pack

    🤖 What’s Inside?
    ✔️ Robot_Big: Heavy robotic footsteps, mechanical stomps, structural clanks, and full-motion sequences for large-scale machines.
    ✔️ Robot_Small: Servo-driven motions, nimble joint movements, mechanical twitches, and intricate robotic details.

    Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.

    27 %
    OFF
  • Sci-Fi Sound Effects MachinEra: SciFi Engines Play Track 284 sounds included, 41 mins total $74

    A high-octane collection of sci-fi engine sounds designed to power futuristic vehicles, starships, drones, and advanced machinery. With layered boosts, charged accelerations, and energetic propulsion, this pack delivers cinematic engine sounds with punch and scale—perfect for games, trailers, film, and sci-fi storytelling. Give your machines the roar of tomorrow.

    MachinEra: Sci-Fi Engines Sound Effects Pack

    🚀 What’s Inside?
    ✔️ Engine Boosts: Aggressive power surges, acceleration bursts, energy charges, and propulsion blasts.
    ✔️ Sci-Fi Motions: High-velocity thrusts, futuristic drives, and stylized engine pulses.

    Useful for films, video content, and games, this pack provides ready-to-use, professionally designed sound effects, tailored for creators who need polished sounds without extra processing. The Ultra High Resolution version may contain more variations and audio files than the High Resolution pack, with pristine 192 kHz quality that ensures excellent flexibility for projects requiring additional processing.

    21 %
    OFF

   

One thought on “Creating the dramatic, intense sound for ‘Deepwater Horizon’:

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.