Created for the Bright Brussels Festival of Light, Behind the Scenes was an immersive installation conceived by Catherine Cosme and 254Forest. The project invited visitors to step inside a cinematic mechanism rather than simply observe it.
Deux écrans formaient un long couloir que le public pouvait traverser. À l’intérieur, les visiteurs devenaient à la fois spectateurs et acteurs, between light and shadow.
De chaque côté de l’installation, two real film crews operated moving lights on cinema travelling tracks, reproducing the gestures of a film set in real time.
The installation existed both inside and outside the corridor.
Dans le passage central, la composition musicale (Hugo Lippens et Jean-Stéphane Garbe) évoquait le 7ème art tout en créant une dramaturgie lunaire en phase avec le spectacle visuel. De part et d’autre des écrans, des haut-parleurs montés sur les rails de travelling diffusaient certaines pistes de la pièce musicale.
As the speakers moved along the tracks, sound travelled through space, creating shifting perspectives and subtle Doppler effects.
Le public se retrouvait ainsi au cœur d’un dispositif cinématographique vivant :
un spectacle à l’intérieur du couloir, mais aussi autour de lui.
Ana Diaz chose our studio to finalise her latest song.
Jeebz au mixage met en lumière la douce et chaleureuse chanson Les Fleurs d’Ana Diaz.
some links
le clip /// le spotify d’Ana
Presented at MAD Brussels, UNcovered marks one of several long-term collaborations with visual artist Pierre Debusschere.
L’exposition propose une scénographie épurée centrée sur le corps humain. Pierre Debusschere y photographie une série de modèles non-vestus, chacun drapé dans une couverture en laine qu’ils manipulent librement — entre protection et révélation.
The installation invited viewers to lie down on a central platform, the film projected onto the ceiling above them. Surrounded by the image, the body became part of the experience.
The music was composed by Hugo Lippens, weaving classical motifs into a restrained ostinato built around the sound of a heartbeat. The sound design was created by Fred Ameel and JS Garbe and was further developed in collaboration Elsa Grelot.
To enhance the immersive dimension, the film was mixed in quadraphonic 4.1, with one speaker positioned at each corner of the projected image and a subwoofer near the platform — allowing the low frequencies to resonate physically through the audience.
Pierre Debusschere : « Je voulais qu’il y ait cette expérience physique unique dans l’exposition. La musique est inspirée par le battement du cœur, et le caisson de basses sous la plateforme est poussé très fort pour qu’elle résonne dans le corps du spectateur. »
At the very beginning of Zéphir, there was this song: Cadillac.
Recorded and mixed at our former studio, 254sound, at 254Forest in Saint-Gilles with Jeebz.
Une fois les voix posées, jean-stph et Hugo Lippens ont peaufiné la composition.
Fun fact: il n’y avait pas de soleil au studio.
Ana Diaz fait une apparition dans le clip:
A lot of that fresh, synthetic loop sound comes from Propellerhead’s iOS app Figure. That small app was a real travel companion at the time, with just three tracks —beat, bass, and lead — yet more than enough. It perfectly matched the striking photograph by Penny Tu featuring Lin Yun for Vogue China.
Everything was later mixed in Ableton Live.
Directed by Panos Cosmatos, Mandy demanded a radical sonic language — something raw, unstable, almost tactile.
When Philippe Van Leer, one of the finest Foley artists around, invited us to bring some of our most extreme tools into the studio, it was clear this would not be a conventional session. Rarement le temps de chercher la matière sonore en profondeur est offert en studio de bruitage. Ici, il fallait justement expérimenter.
The film required textures for characters that feel unhinged, fractured, burning from within. GRM Tools, Sonnox and Soundtoys became part of the performance.
Panos Cosmatos quickly fell in love with Decapitator, searching for the right saturation — something between analog warmth and total collapse.
Les bruitages ont été travaillés comme du sound design à part entière. Saturations poussées, transitoires sculptées, matières distordues : le réel légèrement déplacé vers le cauchemar. Each sound was captured using a carefully chosen combination of microphones — among them DPA 4006 and 4041, Sennheiser MKH40, and Neumann U87 — occasionally paired with a contact pickup to emphasize vibration and internal resonance.
In Mandy, sound doesn’t just support the image.
It corrodes it.
Sound design loves evil.
2021 Mexican-Romanian drama film directed by Teodora Ana Mihai, based on true events, about a mother’s desperate search for her kidnapped teenage daughter in cartel-ridden Northern Mexico, transforming into an activist.
C’est notre première collaboration avec Teodora, ce film est engagé, intense. Une immersion sonore guidée par la quête de Cielo, parsemée de scènes de guerre à la premiere personne.
Win Prize of courage – Un certain regard – Festival de Cannes
Nominated Best sound – Ariel Award, Mexico
co-production des Films du fleuve par les frères Dardennes, Menuetto Film et Mobra Films
https://www.facebook.com/Chickens-On-the-Wall-306722106022058/
Choose a project from the playlist to see more details.
salut tout le monde is a way to say hello
to artists, dreamers, filmmakers and musicians.
Nous accompagnons les projets sonores avec attention et un vrai goût pour les relations humaines.
With experience in feature films, shorts, documentaries, commercials and experimental projects, we work from our studio or collaborate in other studios for :
contact@saluttoutlemonde.com
Jean-Stéphane Garbe +32 472 235 867
salut tout le monde
rue deschampheleer, 26
1081 koekelberg
belgique
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