Asbjoern Andersen


Take the ’80s, time travel, Kung Fu, Hitler, the God of Thunder, dinosaurs and sprinkle a bit of David Hasselhoff on top.

These are just some of the ingredients in KUNG FURY, a ’80s action spoof by director David Sandberg that raised more than $600,000 on Kickstarter (vastly exceeding their $200k goal) – and it just clocked in 16 million views on YouTube. Chances are you’ve seen it shared in your Facebook and Twitter newsfeeds more than once, too.

It’s a crazy, fun project and I was curious to hear the story about the sound for it.

To find out, I managed to get in touch with Patrik Öberg, sound designer on Kung Fury. And below, he shares how he got involved with the project, what it’s like being part of a viral sensation, and just how he created that ’80s feel and atmosphere in sound. Foley artist Tapio Liukkonen also shares his foley approach for the project – and the brilliantly cunning way he landed the job in the first place:

 



KUNG FURY Official Trailer HD


The official trailer for Kung Fury


 

Hi Patrik, please introduce yourself and the sound team on Kung Fury. How did you get involved with the project?

My name is Patrik Öberg. I am a creative freak. I do music and sound design for a living. I run my own company Nakatomi (yes, named after the greatest action movie of all time: Die Hard.. You know, the one with the building and the Ho-ho-ho jokes?!) which mainly focus on producing music and sound for films, games and commercials.

Linus Andersson, who is one of the film’s producers, called me just before Christmas 2014 and asked if I was interested in doing the sound. Without knowing more than that , I said yes. They invited me to the filming of the music video for the song True Survivor, so we could talk more about what it was they wanted me to do. It was basically everything. Usually you get a team of at least 5 or 6 guys, working around the clock on a project like this.

All I needed was to see when they set fire to a stuntman while another shot with a M16 Assault rifle in the same take, and that was it. I was hooked!

But the budget was limited and they wondered if I could do it all. I was not sure if I had the time, but all I needed was to see when they set fire to a stuntman while another shot with a M16 Assault rifle in the same take, and that was it. I was hooked!

My work on Kung Fury was, obviously, to do the sound design and edit for the film, but I also did some of the music. I did some foley, voice acting, voice casting, ADR recording, ADR edit, and of course, the final mix.
I had some help from a former colleague of mine, Jonas Andersson, who did some of the sound effects for the Hackerman part. I have worked with Jonas for pretty much my whole career. Just recently we’ve gone our own ways, but he has been a huge support to me during this process!
I also had some help from excellent foley artist Tapio Liukkonen who, I’m sure, smacked the hell out of a couple of Nazi salad heads.
 

Kung Fury started out as a Kickstarter project and has now evolved into a huge online phenomenon. What’s it been like being part of this ride?

I know, right?! It’s crazy! It’s been a true pleasure. Hard work, yes, and many late nights, sure, but truly a blessing to be a part of this project, and to have the chance to work with some insanely talented and awesome creative people is a dream come true, I think, for every person that does this kind of job. And then, to go to Cannes Film festival (!) and watch the movie together with 5-600 people clapping their hands like I don’t know what and laughing their asses of throughout the whole half hour was worth every late night spent in the studio working on this film. No doubt!

Watch the full-length version of KUNG FURY:

Want to watch the full 30-minute version of Kung Fury? Check it out below:



KUNG FURY Official Movie [HD]


 

What does the ’80s sound like to you – and what did you do to capture that sound and style in the film? Any approaches or tools for getting the ’80s sound and atmosphere that proved particularly useful?

The thing was that when I asked David if he really wanted that true 1987’s tacky sound to go all the way, or if we should do some contemporary design as well, mixed together, he said that’s exactly what he wanted. The best of both worlds. Because the VFX did not have the typical ’80s “stopmotion vs. cartoony” look, but rather more Hollywood crisp 2014 (I mean the T-rex looks better than freaking Spielberg’s dinosaurs!).
So we kind of hit it off immediately, and I guess he gave me a huge freedom to create from my heart. He is great that way. You have this tremendous respect for this guy who just goes out of his way to do something he wants and really loves, and on this scale, and with such finesse! So the last thing you want to do is to disappoint him or screw something up.

I did a lot of re-sampling of “today’s effects”, recorded in 44.100kHz/16 bit, and worked hard on getting the EQ and reverb to match the films from that era

I did a lot of re-sampling of “today’s effects”, recorded in 44.100kHz/16 bit, and worked hard on getting the EQ and reverb to match the films from that era. For example, during the animated part, when Kung Fury “goes to heaven”, I looked at hours of cartoons from that time. Several of which were my favorites when I was I kid, like “Transformers”, “Silver Fang”, “He-man” and so on… I think I did a pretty good job with that one. Of course, Mitch Murder’s track in the background obviously helped!


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I also decided to do the ADR deliberately off and recorded with typical voice-over mics to get that studio-speak feel to it. David, however, is a terrific actor; He was almost too good during the dubbing sessions and nailed it spot on, every time. So I felt kind of bad when I “unsynced” it – But I kept it pretty close to the truth, though.

Another thing was that.. David always brought a couple of chocolate bars with him to the studio, and I never really understood why he ate all that chocolate just before he recorded his lines, but I thought, well, just that he simply must be damn hungry for chocolate. But in the end I guess he saw me staring, and eventually told me his genius move behind this crazy routine. It was simply a means to sound like Batman. Good tip to you guys out there wanting that kind of voice but don’t know how to deliver :)
 



David Hasselhoff - True Survivor (from "Kung Fury") [Official Video]


Kung Fury naturally has its own theme song, performed by none other than ’80s legend David Hasselhoff


 

What was your workflow like, and where did you get the sounds for the project?

At the beginning, I was given short, unrendered sequences that looked nothing like the movie you see today, with awesome VFX and great edit. I had to imagine a lot of the stuff that was going on, for example, in the background, people getting blown up or lazer beems flying around.

Many of the environments weren’t done or in place until late in the process so I had to essentially guess, and then adjust.

Many of the environments weren’t done or in place until late in the process so I had to essentially guess, and then adjust. But they told me how they wanted it to look, so it was a matter of waiting for the VFX department to get their stuff done and delivered to me to see if I was right or totally off.

I had a lot of creative freedom so I tested many different things before I felt happy with what I wanted to do. And both David and Nils (the editor) knows sound pretty good so if they had any ideas, I listened and tried to realize their visions. But mostly it was just me and my crazy head figuring out this mad, dinosaur-robot-WW2-Viking saga in my studio.
 

How the foley was created - with foley artist Tapio Liukkonen
“When I saw the Kung Fury Kickstarter teaser I immediately loved it. I felt that there was lots of passion, talent and strong visions behind this project. I was thinking about how to get involved in it. Foley artists usually aren’t at the top of food chains in film projects so I needed to think of something different. I decided to throw my application with same attitude as young Kung Fury would make it. I took some promotional photographs on the Foley stage with same looking costumes as Kung Fury has. Then I printed them out and attached them in special ”investigation” folder with my CV and police badge. Then I posted it to Sweden as real thing – yes, very ’80s! I think Sandberg and other crew did like the twisted humor so I got attention. That happened during the Kickstarter campaign time so I was pretty early – and when film went into post production I was on board!

The film itself is very music-driven but it was fun to work with as a foley artist too. Especially the fighting scene. It took lots of time. Lots of bodyfalls, kung fu movements, whooshes and so on. For bodyfalls I used old leather jackets and jeans which I hit hard. Then these are spiced up with footstep scuffs and helmets. Whooshes were created with antennas and bamboo sticks. I knew that Patrik had recorded some stuff for foley too, but I made lots of stuff so he had possibilities in the end. For rest of film I made little details like police gears rattle on the street, casings dropping on surfaces, gun rattles, coin machine breaking etc. Lots of little details.

People use to wait for some real surprises how some sounds are made. Maybe it is these show-off videos where something miraculous has been created with weird items. I think most of time the Foley artist work is not like that. I don´t mean that weird sounds are not created from very different objects than you see in the film. I mean most of sounds are created ”boring” way. The real thing is to try to achieve some believable and natural sounds for film. I try to work with different kinds of films and people because in every project I learn something new about the art of foley. I think Kung Fury gave me some good exercises in making fast footsteps movements.”

 

What were the most fun scenes to work on?

Every scene in this film was, as you can understand, a favorite scene to get your hands on. But if must pick something, I would say the anime part. Just trying to get that authentic 1985 cartoon anime feel was both challenging and hard but I am really happy about the result.
And making the Arcade machine come to life was also a really fun thing to do. It was one of the first scenes I designed!
I also got to do many of the characters voices/dubs, and I mean, it is not Oscar material.. but my Swedish-English-Japanese performance was pretty close to greatness, I think.
 



David Hasselhoff - True Survivor (Video Commentary)


David Hasselhoff shares what it was like being involved with the project


 

Looking back at the project and its way to success, any advice or hard-earned lessons you’d like to share?

If David calls and tells you that he has a crazy, really out of this world, over the top, nobody-is-gonna-let-you-do-this idea, don’t hesitate! Do it. It is all worth it!
 

What has Kung Fury’s success meant for you as a sound designer?

I’ve learned a lot working on a project of this scale. And I made a lot of good friends that’s bound for great things in this line of work. I have gotten some offers to do more fun stuff after the summer so I will be looking into that of course, but first I will release a record with my band Block 44, and than I will have a couple of weeks off, away from the studio and the musts. But I’m sure it will be a crazy autumn, so I need to recharge my batteries and just do other stuff during the summer :)
 

A big thanks to Patrik Öberg and Tapio Liukkonen for sharing the story behind the sound for Kung Fury!

 

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    Originally recorded at 192 kHz with two Sennheiser MKH8040, a Sanken CO-100K and a Sound devices Mixpre 6. Delivered at 96Khz.

    Each sound file has been carefully named and tagged for easy search in Soundminer and is Universal Category System (UCS) compliant.

    (see the full track list below).

  • This sound library was carefully recorded, processed and crafted to offer a unique toolset for your ice-cold freezing design needs.

    Great for fantasy genre with ice based magic, enchantment and supernatural elements, shining motion graphics, time lapse and flow motion freeze sequences.

    Bonus Aztec death whistle recordings processed by glass and icy textures.

    This Sound Library is a part of the Slava Pogorelsky – Complete Bundle.

    WHAT SOUND PROFESSIONALS SAY:

    Victor Mercader – AAA Sound Designer (Apex Legends)
    “I find myself continuously using Slava’s SFX libraries to blend it’s pristine and detailed sound designs into my own sounds. They always add that cutting edge I am missing and make my sound designs more unique and pristine.”

    Enos Desjardins – Sound Designer/Sound Effects Editor (Mission: Impossible – Dead Reckoning, Black Mirror)
    “Slava has been creating some really cool libraries which I find myself using time and again. Really high quality recordings to start with but then the cool processing he has used for example in his cinematic whoosh libraries really stand out. They are not just your standard generic whoosh sounds but are loaded with character and have a unique feel to them that is really fresh and cuts through in the nicest of ways.”

    Bjørn Jacobsen – AAA Sound Designer (CyberPunk 2077, HITMAN, DARQ)
    “Slava has for several years made high quality sound effects for me to play with. I use his sound libraries across multiple projects as lego blocks of my creations.”

    Ginno Legaspi – SoundBytes Music Magazine‎
    “As far as the sound goes ‘Cinematic Magical Ice’ is both beautiful and mystical. I happen to like the icy textures that are oozing with coldness. Overall, this sound library boasts a good variety of effect samples ready to drop in various cinematic projects.”

    Yarron Katz – AAA Composer and Sound Designer
    “Slava makes some wonderful libraries. He’s relatively new on the scene and his libraries have come to critical acclaim. He takes some general ideas, like whooshes and he injects some extremely revolutionary and innovative ideas to them, so you’re not getting another whoosh library – you’re getting something very unique, very fresh. He brings some wonderful ideas to the table.”

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    The Rocks Momentum sound effects library gets you more than 1100 sounds of rocks, bricks, wood logs, stones, impacting on different surfaces, rolling, being scraped one against the other and so on. The library was recorded in the Italian alps, and in Inverness, Scotland. Defective construction materials were used for the recording of bricks, roofing tiles, cement blocks etc.

    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.
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Environments & Ambiences Geophonic Sound Effects Play Track 98+ sounds included, 32 mins total $15

    This audio library features low-frequency drones, powerful impacts, metallic scrapes, resonant vibrations, and other rare audio textures.
    All sounds were recorded using the LOM Geofón, a device that captures low-frequency surface vibrations that conventional microphones cannot detect.

    The recordings were made with the TASCAM Portacapture X8 at 192 kHz/32 bit, ensuring maximum detail and sound quality.

    50 %
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    A field-recorded collection from Vietnam, Cambodia and Thailand capturing the sounds of tropical environments, urban life, transport and religious sites.
    Southeast Asia includes jungle ambiences, heavy monsoon rains, street markets and traditional ceremonies.

    Last September, I spent 3 weeks vacationing in Southeast Asia, visiting Vietnam, Cambodia and Thailand.
    During my stay, I recorded everything I thought could be characteristic of those cultures: from tropical to urban environments, religious ceremonies and places of worship, modes of transportation (from boats to tuk-tuks), spoken language, monsoon rain, etc.

    The recordings are situational, meaning I didn’t prepare anything before starting to record. If I found myself in a location that seemed suitable, I simply pressed REC.
    I used my Tascam DR100 MK3 or the Zoom F6 with a pair of Line Audio OM1 omnidirectional microphones

    Audio files are 96kHz/24 Bit. Cleaned and edited for professional use, with UCS naming and full metadata.

    50 %
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  • Ambisonic Sound Effects Ambisonic Walla, Public Places Play Track 52+ sounds included, 172 mins total $21

    Walla, public places recorded in ambisonic B-format (ambix) and binaural.
    Including some actions like walking, running around mic etc.
    Recorded with Sennheiser Ambeo VR microphone and Sound Devices 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.

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    Featuring in-studio recordings with all South African cast, for a real South African feel without the distractions of exterior noise. These organic crowd murmurs, ambient dialogues, and background chatter reflect a variety of local languages, dialects, and cultural settings, making them perfect for film, TV, games, and immersive audio experiences. Elevate your sound design with the unmistakable authenticity of South African walla!

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    Each weapon type comes with game-ready, clearly named files, making it simple to drop them into your project and features variations from light to heavy, critical, and epic, giving you full control over intensity and impact:

    🔹 Swords & Spears – Swings, swooshes, impact hits, and special skills
    🔹 Bows – String draw, arrow release, and impact sounds
    🔹 Lasers & Mecha – Power-up charges, shots, impacts, and skill effects
    🔹 Guns – Designed anime-style gunshots with skill variations


   

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