Vic Effects (2025)

[bunniefuu]

Beep's ready.

Beep beep.

Let's make a documentary.

When we watch a movie

or a TV show, our

brains are at work

making sense not of

what we see, but

of what we hear.

Victoria, or should

I say Vic Pette's

job as a Foley artist

at Comfort Zone.

Studios, is to recreate

the soundsscapes

to immerse us in the moment.

She's created amazing

sound textures for

indie horror classics

such as Cyclone.

Base 9, The Crescent

Moon Shines Over.

Nightmares,

Suffocated Screams,

and her latest film,

The Blood Unbroken Wings.

What is the art of

Foley? So the art of

foley is adding

sound to things like

movies, TV, ads, video games.

Uh for stuff like

touching, walking,

even kissing. Uh in

my case, I add sound

for things like

stabbings, having flesh

ripped open or heads

chopped off, you

know, fun [ ] like that.

Uh, but what's cool

about horror, which

is mostly what I

do, is you get to do

this really absurd

things to create the

sounds and the texture

and illusion in

the film. And I

mean, you know, you

could use pre-recorded

sounds, but I

mean, what's the fun

in that? I'd rather

do some really cool,

clever tricks to

- make something really

interesting and. - More real.

Vic has been doing

sound effects work

for six years and has

quickly become the

go-to foley extraordinaire

for the indie

horror world.

Any chance we have

to add sound to a

scene, we'll do it.

So, even if it's

something super

simple like a choking

scene, I've got

this really cool rig

where it's these

two plastic bottles

duct taped together

and I just twist the

crap out of it and

it creates this

really sick like

crunching crackling

sound. Just adds

an extra layer of

- texture that just takes it to

the next. - Level.

In this scene from

the movie The.

Crescent Moon Shines

over nightmares,

you see the k*ller

pry open his victim's

mouth as he unhinged his jaw

ferociously. That

disgusting oozing

cracking you hear is

actually two layers

of vegetables cracked

and snapped. Also

adding a layer of wet

gravel handled by.

Vic to give it an

even more crumbling

sound. The team

behind the film went

above and beyond the

over-the-top gore.

And every act had to

follow the movement

on screen while living

up to the thrills

the fans expect.

I think this movie

is by far the goriest

I've ever worked on.

So once we get some

kind of picture

lock, then we'll

start to prep for all

the shots we'll be

taking cuz Vic likes

to get every detail

of everything that's

on the screen. And

I mean everything.

- And then it's my job to make

that bad. - Boy pop.

Okay. Yep.

What really works

for Vic and I is that

we have very clear communication

with each other and

everything we're

going to do. And no

matter what, we make

sure the story is the priority.

But we do a lot of

stuff to enhance it,

too.

To make all that

gore believable, Vic

needed everything

to make it sound as

organic as possible.

She focused on

capturing sound from

real objects, so

nothing was overly

processed. And while

some sound was

used from a digital

library, most of the

effects came from

what Vic organically

created. I'm a big

fan of pistachios and

also kind of lazy.

So, as I eat them,

I've just been

tossing the shells in this can.

And I realized that

the sound of these

shells moving around

can add a really

cool like texture and

sound and a little

something extra to

these scenes. There's

all kinds of just

interesting stuff you

can do with these.

So, this one, uh,

we kind of had this

lowbudget sci-fi

thing we did, and they

had these, um, like

astronaut helmets,

and they had this

sort of like clicky

sound when they

attached everything.

Sounds very similar.

So, a friend of mine had a baby

recently, and I

discovered that these

little baby books

make all kinds of

interesting sounds,

too. So, this one

sounds kind of like

walking through

snow.

Just gives it that

little bit of crunchy

texture that really

helps sell the snow.

So, this little guy

was actually Coop's

idea. Um, you can wind it up,

maybe.

Did I break it?

Oh, there it goes.

And that sound, if

you speed it up,

do a whole bunch of

them later each

other, form a bees.

We'll blame Coupe

for it not working.

You know, people

always talk about movie

magic. To me, movie

magic is being able

to take something

like a simple celery

stick or pistachio

shells in a can and

turning that into

something totally

different on screen

that you see and

hear. That is magic.

Oh [ ] Wes Craven

directed porno

before he did Nightmare

on Elm Street.

That's got to be

some [ ] up porno.

Sure there's a porno

out there somewhere

with Freddy fingering

some girl having a

wet dream.

Oh, harsh.

Why you looking it up then?

Harsh but clever.

Why don't you just call her?

Say what?

I don't know.

Something. Anything.

Those

honey crisps we have

are [ ] Every

time I try to make

that skull crunching

sound, it just sounds

like I'm eating a

[ ] apple.

Yeah. Well, I mean,

that's exactly what

you're doing.

You know what I mean.

I'm going to head

to that mom and pop

down the street and

get some new ones.

Gotcha.

Say something.

Yeah.

What uh what truly gets people's

attention?

What gets their

attention is rage.

Yeah. The way it looks,

the way it feels,

especially especially

the way it sounds,

you can't help but

but gravitate to it.

Whether you want it or not,

it can linger in

your very being.

And uh and

that is God.

Yeah, that's how

it speaks to us.

God.

Do you believe in God?

I guess.

We all believe in something. But

it doesn't mean that

that uh that you

call it God.

What I do is uh

I I evoke emotion.

I open up a sense

of satisfaction

that is

perverse and wicked but

keeps you in balance

because at the end of the day I

I push junk around

and it uh creates

a mad and getting his

skull crushed into

teeny tiny pieces. Uh,

a demon.

A demon bursting

out of a human's

insides.

I have this canvas

and my job is to

paint on this canvas.

And

sometimes you you go

beyond what should

be on there, but

it's all in the details.

It's not real.

So you just build absurdity.

And that is what is

so fulfilling about

it.

That's God.

At least to me.

So the bottom line

is you've you've got

to have patience

otherwise your own

frustrations are

going to end up proving to be a

distraction.

I

Okay. Uh most people

can juggle two

ba*ls at a time,

right? Uh three is

something four you

just cut that out.

Stick with two or

three. Uh, two is

usually all you need,

but Thomas, wow.

Thomas had moments

where he could do six

at a time, and it's

doubtful that you'll

ever need that

many, but if you do,

you'll know it when

the time comes.

So, I mean, what's

it like working with.

Thomas Raven? I mean,

my my my god, that

movie Holy Bloody

Hearts, where that

falling demon angel

caves in Casey's

chest. I mean, that

sound was insane.

Thomas has passed away.

Wait, what?

Uh, yeah. Um, we've been

waiting to announce

it, but a couple of

weeks ago, Thomas passed away.

Actually, that's why

I'm here talking to

you right now.

So,

so like how uh how'd he die?

Tired out. I think

doing this job for 40

years finally took

its toll, I suppose.

So, was he working on a a film?

Yeah. Actually,

something a little

different than

what we're used to.

He admired you, Vicki.

Oh my god, that that

Mr. Raven admired

me. I mean, he's

an idol of mine. I

really just copied

what he was doing.

He was listening to

a symphony in his

head when he heard

the sound design that

you did for your last

film, Missileless.

Curse. Uh when she's

choking Braun, that

sound that he made

when she thrusts her

tentacle up inside

him and pulls his

heart out slowly

through his butt. What

was that?

Uh it was just a

kettle times 20 pitch

shift with a woman

scream pitch down

played backwards.

You know, Thomas

shed a tear when he

heard that. Yeah.

Is like that sound

made him feel Bron's pain.

Which is why I believe

that you should

finish the film. And

I know Thomas would

want that as well.

It'd be an honor.

Holy [ ] [ ]

Oh, [ ] Um, sorry.

Sorry. Um,

okay. So, I think that's a yes.

Yes. Yes.

Excellent. Excellent.

Um, we're going to

need to get started

as soon as possible.

So,

Sure. Yeah. As soon

as possible. Uh we

are working on a movie

right now, but um

in a few a few weeks.

Three. You can have

three weeks, but uh

we're on a really

tight deadline, so I

will absolutely

need you by then.

We can do three. And doable.

Yeah, just send us

the footage. We'll

check it out.

Indeed, I will.

This is [ ] awesome.

Indeed it is,

Cooper. Indeed it is.

It's Coupe. Uh, a

lot of people think

it's short for

Cooper, but it's just.

Coupe.

So, so thank you

so much, Mr. Kemp,

really for this opportunity.

I will leave you

to get to it then.

A pleasure meeting you, Vic.

You as well.

You, too.

Pleasure,

Coop.

Looking forward to

working with you.

I will be seeing you again

very soon.

Mhm. This is huge.

Massive.

Yeah. Yeah. Okay.

All right. Let's uh

let's finish up this

other movie. Okay.

Uh let's throw another

layer on the on

that sound. We need

to make it a little

thicker.

Okay. And I'm going

to add some filters

to kind of clean it up.

Sweet. Sounds great. All right.

Hey, it's me. Just

calling to say I hope

you're doing okay.

I don't really know

what to say anymore.

I mean,

said I'm sorry a

lot. Doesn't seem to

change anything. So,

so I'll just call

to say I hope you're

doing okay and I

suck and I'm a shitty

person and I

I'm sorry and I love you.

Just call me back. Okay.

Bye.

I uh enjoy life's

random realities,

but it doesn't

mean I want to live

there.

It's a dark place for me.

Creating these

textures gives me a a

sense of calm.

Silly movies, silly sounds.

But when I go back

into these these

realities that the

silly sounds are no more.

But I wonder.

Anyway, I

at the end of the

day, I suppose you you

could say I've I've

lived a fulfilled

life

full of silly sounds.

And random realities.

Hey,

this whole leaving

you a voicemail thing

really sucks. Maybe

you didn't get my

other messages. So, um

I just really think

we should talk like

for real in person.

You know where to

find me. Same as

always. So,

I love you.

Bye.

What? What the [

] Get off me. What

the [ ]

Get Let go of me.

Get off me.

Get off me.

I

I think I got to add

something to those

footsteps. It just

it needs something.

And I want to redo

that breathing. That

[ ] was weird.

All right. What do

you think was weird

about it?

I don't know, man.

My headache's just

[ ] stupid right

now. I think I need

to be done.

All right. I got

Seinfeld, a beef

sandwich, and Ice

Cold Dr. Pepper

waiting on me, so

I'm going to head

home.

All right. Noon tomorrow.

Sound good?

Shut the [ ] up.

Hey, did you hear that?

Uh, no.

You didn't hear that

really loud bang?

Was that hoes not

doing it for you?

What?

Vic, are you good?

You're telling me

you didn't hear that

loud a*s bang? Just now.

Look, let's just

go on to the next

scene. Okay,

maybe we should take five.

Let's go on to the next scene.

Yep.

Where you going?

A conversation needs to be had.

This whole ignoring

me thing is getting

really [ ] old. Okay, I just

I need to hear your

voice. I'm really

[ ] up right now and

just call me back. Okay,

bye.

Oh [ ] you startled me.

That wasn't my intention.

Actually, I need to talk to you.

Yeah, I kind of got

the impression you

needed to.

So, what is this movie

actually about? I

mean, I get that

it's like a t*rture

pornish sort of

thing, but something's

just off.

With all due respect, Vic,

don't you ever again

refer to my films

as poor.

That was a little

harsh, but you haven't

finished your job

yet, so it's a little

unfair to be

judging prematurely.

Wouldn't you agree?

You're You're so

right, Mr. Kemp. I'm

I'm sorry if I offended

you in any way.

I'm just trying to

figure this out the

best way I know how.

Okay, look, I I

believe you're doing

just fine, Vic, but

the reason I'm here

is I brought some

items that I want you

to use in the movie,

and I think you're

going to be pretty

excited about this.

This can't be real right now.

Oh, it's very real,

Vic. Very, very

real. I know these

are in good hands

because they are in your hands.

What I want you to

do is use these items

to uh explore the

essence of how sound

can be used to alter someone's

perception of what

is even possible when

ripping a person's

heart out of their

body. I mean, I

heard you. Tom heard

you.

They will hear you.

I just I just can't

believe this is

real. I mean, I feel

like I'm on another

planet right now.

I mean, I always

admired Mr. Raven

from afar, but I had

no idea he was

watching my career so

closely.

I wish I could thank him.

You

know, Tom was a a

proud man. Took the

artist sound design

far beyond what you

hear in the movies.

And his films

weren't masterpieces

by any stretch of

the imagination, but

uh the lie worked.

You know, he told me

once he liked to go

into a theater with

regular people. He

didn't like to go

to premieres or

anything like that.

And he'd look for

the person that

squirmed the most. Said

he liked to sit next

to them so that he

could hear their

bones crack when their

body jerked in an

uncomfortable theater

seat.

Bad posture is always

inevitable when

watching a gruesome

film or uh at least

it is most of the time.

Anyway, I will let

you get to it. Uh,

this film, like I

said, is different

from what we've done

before, but watch

it, understand it,

use these items, feel

confused, but, you

know, make it your

own with with what you know.

I don't need you

to give me periodic

updates of how things

are going so far.

I trust that you know

how to put all the

pieces together.

So,

I will see you soon.

The way the light sees the dark

and the dark

sees nothing.

The way the light

sees the dark and the

dark sees nothing.

What is that? What

does that even mean?

Back.

When a vampire

makes love to a robot

which is mostly made

of metal. I think

we can assume that a

vampire's nails are

very sharp. At least

I would think so.

There there needed

to be pinpoint

details on how this

vampire would touch

metal. So

I used this

to convey the touch

of a vampire's hands

caressing a cyborg.

Also, I used it to

to create a a harsh

sound that I could

use if I were to

score a film, which

I've done from time

to time.

But, as I've always said,

we are orchestrating

a wall of madness.

Louis dry door.

She locked me in.

That's it.

From what I see,

just kind of blacks

out. So, I don't

uh This movie is

[ ] weird. Like,

not a good weird,

like a [ ] up

weird. Like, what's the

point?

All right, just uh

fast forward to the

next scene.

I kind of feel like

we should take a

break.

Fast forward to the

next scene. Coupe,

the [ ] is this

movie anyway, man? It's

like, is it even in

the right order? Or

like, is there an

order? I mean, [ ]

Next scene, Coupe.

I'm taking a break.

Coupe, you good?

Coupe, you okay?

Vic

interpost.

What?

Hey, uh, you you good?

I heard that loud

bang. I thought you

busted your [ ] or

something.

You said 10 minutes.

Are you ready?

Yeah. Uh, right

out of the black.

Yeah. Still some

weird [ ] though.

Hey. Um,

I I need a beer and

a break right now.

What?

I need a drink.

Fine by me.

So that's it for

this film then, huh?

I had no [ ] clue, man.

Milo Kimp gave me

all this Thomas Raven

[ ] and what? Now

the movie's over.

He gave you all that

[ ] just for this

movie.

That's what he said.

I don't know. I probably

need to talk to.

Milo.

I don't know how to explain it.

Something

something happens

when I touch Thomas.

Raven's props. It's like

enhanced

somehow. Like I'm

like I'm inside these

things he created.

So you just explained it then.

How do you mean.

I don't know, Vic.

You see, you can't

explain it, but

you're obviously

locked in with this guy

and [ ] is getting wild

and the whole project

is just getting

beyond what we thought

it was going to

be initially. And I

know I just turn the

knobs and whatever,

but that's how it

feels.

Do you have Milo Kemp's number?

You realize that guy

just like showed up

out of nowhere,

right? I can barely

remember his name is Milo.

All right. Well, I

think I'm going to

head home. I mean,

there's really

nothing else we can

do here besides I

want to get a real beer.

All right. Tomorrow then?

Yeah.

All right. See you

later. See you.

It's fine. Um, I I

wanted to chat with

you anyway. I I didn't

have your number.

Yeah, that sure.

How did he die?

Cool. So, we'll call

it here. Uh, you

got time next week?

Yeah, I can come by Saturday.

That works.

3:00.

Cool. Yeah. Yeah.

Sounds good. Sounds

good. Sounds good.

Do a little something

with the snare if

you could and the hook.

Bring it I needed

to really jump out.

But oh man, I love

it, man. Sounds

cool. All right, man.

See you next week.

Yep. Peace.

Bye.

Okay. Wow, I smiled.

You don't smile

back at all. Goodbye.

Come on, man.

Hey, it's me. Just

calling to say I hope

you're doing okay.

I don't really know

what to say anymore.

I mean,

said I'm sorry a lot.

It doesn't seem to

change anything. So,

guess I'll just

call to say I hope

you're doing okay

and I suck and I'm a

shitty person and

I'm [ ] sorry

and I love.

Why?

Why?

I'm just doing my

job. Inflicting pain

on the ones you

love is your job.

I'm sorry. You're far

from sorry. You're

[ ] sick.

I can feel you shake

every night in the

corner of our bed,

breathing so hard

like you're running

from something.

You're too far into this, Vicki.

Now you're stuck.

Uh, what the [ ] Vic?

Just need you to

stay where you are,

Coupe. We'll get

this figured out.

No, something weird

is going on. What

the hell is happening?

Said, "We'll get"

this figured out.

He should be freaking

out right now and

"he should be running

away right now."

But he can't.

Can you, Vicki?

What the [ ] is

she talking about?

Don't do anything stupid. Coupe,

I think it's stupid

for me to stay in

this room right now.

And I need you to

stay in that [ ]

room right now until

we're finished.

[ ] this.

Are you [ ]

kidding me right now?

You got so caught

up in your emotions,

you forgot about everybody else.

And I loved you

so much.

I wanted to help

you in your journey.

But you left me behind

and in pain.

A pain that you

inflicted on me because

you thought it was

necessary for your

art.

So what now?

I don't know.

You created it.

And that is what is

so fulfilling about

it. That's God.

Beeps. Ready.

Beep.

Beep.

Are you happy now?

Not yet.

Oh, [ ]

I don't know.

Well, [ ]

That was something.

Yeah, someone was

smoking something

right now.

But it's a paycheck.

Yep.

You need some punches

here and there,

but we got some

motion. Good stuff.

Cool.

All right.

[ ]

[ ]

Damn it.

You okay?

Being clumsy again.

Okay. You need some help?

No, I'm good, man.

I'm a big boy. And

get myself up.

[ ]

I got a bad pain

in the bathroom.

Yo, John.

What?

Why am I on the screen, dude?

What?

The [ ]

Like, why I'm on the screen?

What do you mean?

Like, I'm literally

on the screen just

looking froze.

What have you been smoking?

Really? I don't know

what you're talking

about.

The [ ]

Well, 70%

of viewer engagement

and appreciation is

sound.

It should be

the craft around storytelling

in film.

Uh sound is crucial

for creating a story

and a world that

exceeds the boundaries of

two-dimensional space on screen.

What we hear,

what we hear tells

us there is uh

there's far more going

on or more that's

existing

and breathing than we can see.

It's a world that

goes so far as to

invade our real world because

sound waves rule over

three-dimensional

space.

Sound has uh no control.

It's there with uh

with unpredictability.

It vibrates all around us.

It's changing the

air that we occupy,

making the world a

a place of wonder.

It's a world of wonder

or cosmic horror.

We hear the wonder of of crashes

and clocks ticking,

scream like cries,

growing loudness,

uproars,

explosions.

And then silence.