We are accustomed to looking at images, but rarely stop to consider what we are actually hearing. Why do a character’s footsteps in a game sound heavy? Why does one sound of a door opening evoke anxiety, while another suggests a sense of security? Why can silence be scarier than music in a horror film? Why do gunshots, monsters, and fantastic creatures sound convincing, even though such sounds don’t exist in reality? «The Sound We Don’t Notice» is a piece of media that encourages us to pause and listen closely. The project demonstrates how sound creates atmosphere, conveys information, and manages the emotions of the viewer or player.

Most people perceive the sound design of a film or game as a natural part of the action. The viewer hears footsteps, a door creak, rain noise, music, or interface sounds, but rarely stops to consider who created them and why. Media shifts attention from «what is happening on screen» to «how sound helps us feel it.»

It is easy and interesting to talk about sound to people who are not sound engineers or audio specialists. The project must address the following questions: — how sounds are created in film and games; — why Foley and sound design are necessary; — why some sounds seem realistic while others do not; — how sound affects the perception of space; — how sound helps the player navigate; — why silence is also a tool; — how music and sound effects work together.

Don’t explain sound using complex professional terminology; instead, show it through situations familiar to people. Instead of asking, «What is dynamic range?» ask: Why does one sound make us tense up? Instead of asking, «What is Foley?» ask: Where do the perfect footsteps in the snow come from in a film? Instead of asking, «What is gameplay feedback?» ask: Why do we understand we hit the enemy even before seeing the result?

Sound design as a tool for creating emotion, atmosphere, and interaction in film, video games, and digital environments.
The project intersects several themes:
film × video games × sound × perception psychology × technology.
However, the primary object of study remains sound itself.

Film: Foley, sound effects, atmosphere, music, silence, voices, sound transitions, creating fantastical sounds. Games: Footsteps, weaponry, interface, environment, spatial audio, adaptive music, sound cues, sound as part of gameplay. Digital Environments: Interface sounds, notifications, audio branding, applications, promotional videos.

Competitors were sought in the following areas: — media about sound design; — media about game audio; — sound designer blogs; — Telegram channels about sound; — gaming media; — educational projects; — materials on Foley and sound production.

Main comparison criteria: Topic. Distribution platform. Content formats. Visual presentation. Tone of voice. Material complexity level. Audience engagement and characteristic response to the content.

Media/Telegram channel about sound design and its implementation in interactive media.Its strength lies in deep immersion specifically in game audio.
The content is primarily aimed at individuals who are already interested in the professional aspects of sound.
What can be gained:
— expertise;
— analyses of specific processes;
— focus on game audio.
What could be done differently:
Remove the professional barrier and explain the same phenomena through familiar games and gameplay scenarios.

A project about sound and music for film, games, and brands. The content is built around professional experience, projects, and sound creation. A strong point is demonstrating the real work of specialists. What you can take away: — A case study approach; — Process demonstration; — A sense of professional community. What could be done differently: Instead of telling «how we made the project, ” narrate „what the viewer hears in the project and why it works.“

A professional international media and resource dedicated to sound effects and game audio. The project covers a wide range of topics: from the basics of game sound to professional workflows, tools, and sound effect creation. What can be taken: — The structure of the educational content; — Terminology breakdowns; — The «Sound Explained» format. What could be done differently: Make the content significantly more mass-market and visually oriented.