Flutu | Game Audio Studio

Very happy to share Maleime, a short film inspired by Brazilian folklore, for which we had the pleasure of leading the full sound direction. Alongside the amazing team at @greydotlab , we were invited to create the sound and music for this incredibly inspiring project, one that resonates deeply with our roots. Brazil is home to a unique mythological culture, where enchanted beings are guardians of nature and protectors of the environment. In many tales, those who dare to disrespect these guardians often face dire consequences. The short features Caipora, a powerful spirit from Tupi mythology. Legend has it that Caipora protects the forest and punishes hunters and destroyers. To create the sonic atmosphere of this mythological horror short, we drew inspiration from traditional Candomblé rhythms, using direct references to this Afro-Brazilian religion to reflect the spiritual force of the story. For the main theme, we leaned into the textures of bpopular street ensembles from rural Brazil, made up of handmade wooden flutes and rustic percussion. We're very proud of the final result, especially because of the incredible world-building and visuals developed by the Grey Dot team . The full video is in our profile, enjoy. It’s not every day that a piece of audiovisual art dives so deep into Brazilian cultural richness. Big shoutout to the Flutu team behind the magic: Sound and Music by Flutu - Music & Sound Direction: Victor HIme Production Coordinator: Rebecca Gallinaro Music Composition: Tiago Occilupo Sound Design and Mix: Rafael Vieira Percussion: Kabé Pinheiro

300 layered tracks for a 44 second video. That’s how your trailer should sound. 💥💥Here’s yours truly showing a few tricks up my sleeve. Trailers, animations, and cinematics need to breathe sound. And no, you don’t get there with music alone. Sound design is what gives a scene emotional depth before the music even kicks in. Done right, you finish watching the video feeling like only a few seconds have passed. In this piece, I’m showcasing my approach to high paced action driven scenes. Heavy movement, intensity, rhythm, and personality, all driven by sound. The trailer is for Fortnite Season 5, superheroes. A perfect excuse for a redesign, since 99.9 percent of the projects I work on are under NDA. So yeah, thank god for redesigns. 🚀 I’m thinking about doing a full live breakdown of this trailer, going deep into the layers, the tricks, and the decisions behind the sound design. Would you join? 🎧🔥

Award-winning games rarely happen by accident. Behind them, there’s intentional audio design. Here is a breakdown of the intro from Final Exam, exposing a few tricks behind its atmosphere. To establish the game’s setting without text or dialogue, the scene relies entirely on sound. By simply listening, the player immediately understands what is happening: a school shooting is unfolding. No visual spectacle was needed. Sound alone places the player in the exact emotional space we wanted: tension, psychological terror, and survival. To reach that atmosphere, I built multiple layered systems inside FMOD, carefully balancing impacts and sub-frequencies that the brain naturally reads as danger. In the video, I also show how the scream layers were created, blending different performances and reverbs to produce depth and spatial perception. One of audio’s core roles is to situate the player narratively and geographically. Details like bathroom echoes place the listener’s head precisely where it should be: alert. Reading player reactions today, I see the exact mood we aimed for. Deep emotional impact without sensationalism or visual violence. In situations like this, everyone is a victim. Final Exam received recognition in several international awards, and I’m grateful to have contributed as Audio Director and Sound Designer, together with my team. For you, what elements are essential in psychological horror? #gameaudio #sounddesign #gamedev #flutu

I am a speaker at Gamescom Latam 2026, “Why Many Games Sound the Same (and How to Fix It)”. Sharing practical insights on audio leadership and production strategies we apply across real projects. This is part of a necessary provocation for anyone trying to stand out through the sound experience of their game. Conversations like this help clarify the role of audio leadership in game production. When audio is involved early in decision-making, it stops being a deliverable and becomes a driver of gameplay clarity and production focus. The result? Less rework, better decisions, and real savings in time and budget. Games start to sound the same when there’s no clear audio direction, no implementation strategy, and when assets are driven only by immediate needs. It’s not about having the highest quality or Hollywood-level samples. It’s about visibility, production organization, and strong aesthetic direction. That’s what makes the difference. Join me for a session where I’ll share practical case studies and strategies to avoid this trap. See you there? May 1st, 2026 Stage Connect Gamescom Latam Sao Paulo, Brazil #gameaudio #flutu #gamedevelopment

They put me inside a car with 36 speakers, turned on Pink Floyd and COD… really loud. My mind went kaboom 🤯 Here's my xp visiting Dolby HQ For people like us, sound hits differently. Great audio creates a physical reaction. Adrenaline. Tension. But to reach that level, you need the right gear and the right people behind it. Michaela Koval, Alistair Hirst, and team made that very clear. Dolby has been raising the bar for years, and experiencing Atmos like this was on another level. The precision of spatial audio, the sense of movement, and the low end… that bass is something else. But what stood out the most wasn’t just the tech. It was the craft behind it. To reach that level, it’s not enough to have the system. You need intention from day one. Clean recordings, proper mixing, experienced engineers. Dolby mixing is technical, and it reinforces a simple truth: mastery requires masters. The system is powerful, but the result depends on the people driving it. And yeah… you gotta find good drivers for that ride. Thanks to everyone at Dolby. You definitely made my inner kid very happy. #gameaudio #gamedevelopment #flutu

GDC doesn’t move the industry. People do. Heading home more passionate about the GameDev industry, and grateful to be part of such a creative and resilient community. This year was special, and the real takeaway is simple: Games are made by people → business is built between people → strong networks remain one of the key pillars for growth. Strong networks require showing up without expecting immediate return. It means being genuinely part of a collective and actively supporting its growth. So here’s a thank you to everyone we met, and to those we managed to grab a photo with along the way. To all the friends and partners, it was a real pleasure connecting and hearing so many interesting updates from the industry. A special thanks to @abragames_oficial for continuously supporting the Brazilian industry, fostering international presence, and championing creative companies from Brazil with real protagonism. #GDC #gamedev #gameaudio #flutu

Hey San Francisco, here we go. On my way to GDC to share about the impact of thoughtful sound experiences in games and player’s lives. It’s always a pleasure to reconnect with friends and partners at what truly feels like a celebration of our industry. Proud to represent Flutu, my studio that has been collecting success stories over the past years and proving that audio can be cohesive, organized, and built in a way that protects the well-being of those who create it while driving engagement for those who play. If you’d like to meet in person, talk audio, exchange ideas, or explore potential collaborations, I’ll be around all week. It would be great to connect. For audio folks, I’m opening a few dedicated time slots in my calendar so we can meet, share insights, and get to know each other properly. I’ll drop the link in the comments. See you there? #gdc #gameaudio #gamedevelopment #flutu

MIDI instruments can only take you so far. There is a level of beauty that only humans, with all their complexity, can reach. MIDI was created as a way to build mockups. Over time, and driven by the audiovisual industry’s obsession with productivity, they became almost a standard. Today, MIDI mockups are expected to sound realistic. And we miss he real musicians, orchestras, and all the textures with it! Some instruments, especially winds and brass, quickly reveal their limits in Midi. The complexity of breathing, articulation, phrasing, micro timing, and advanced arranging simply cannot be fully replicated. You can hear that clearly in this recording of a beautiful jazz big band we captured in Almería. To reach that result, the formula is simple. Musicians. A studio. A music producer. The process is straightforward, and the outcome is undeniably powerful. With proper planning and a holistic vision of the project, it becomes possible to create sonic textures for your game that players have never heard before. Textures that move people. Sometimes even to tears. Here you have the stunning and ultra professional Clasijazz Big Band at its finest, recorded in Almería, Spain. Now imagine this level of emotion and depth inside your game. What do you think players would say about that? How do you feel when you listen to this? #gameaudio #gamedevelopment #flutu #flutumusic

Understanding ikigai and applying it to your life can be deeply liberating. It’s about finally occupying your own place in the world. Ikigai is about standing where you belong. Without copying others, without envy, without resentment, without fighting against the world. That state is possible, but it requires letting go of a few things along the way. The first step is accepting a hard truth: not everything we love or want to do will sustain us. Not because it lacks value, but because the world may simply not need more of it. Sometimes, it only matters to you. That’s why observing where the world is moving and positioning yourself where you can be useful and unique is essential. What makes me unique here? Why me? These are uncomfortable questions, but necessary ones if you want to understand why things are or aren’t working in your life. Today, being a performing musician no longer fits my personal definition of ikigai. I love playing, I love being on stage, but I realized the world needs me in other roles connected to music and audio. If you’re a composer or sound designer, understand that the world may need you exactly as that, not sitting in someone else’s chair. Finding your place requires grounding. Otherwise, you end up missing opportunities simply because desire is louder than reality. I had to take a few hits and grind my way through the ranks to understand this. Ego speaks loudly, especially for artists. But searching for your ikigai, even when it takes time, is necessary. In this song, I pay tribute to my teachers, especially Leyve Miranda @grooveescola and Luizão Cavalcante @luizaocavalcante , who shaped me into the musician and professional I am today. With the support of two great mentors, I found my place. And I genuinely believe you can find yours too. But you’ll need to let go of some things. Pride. The idea that you can do everything alone. And the illusion that copying someone else is enough. Copying is the first step of the student. The next step is breaking the rules and shaping your own reality. Here is me singing Mr Binot by Joyce Moreno

Amanhã faremos um bate-papo junto do @hubsampagames sobre produção de áudio para jogos. Vamos apresentar o framework que usamos no nosso fluxo de trabalho, especialmente pensado para pequenos produtores que buscam a melhor assinatura sonora para seus jogos. Será uma conversa prática, estilo workshop, para todo mundo sair de lá com mais domínio do processo e, principalmente, com seus jogos soando muito melhor. Junte-se a nós pelo link ou pelos perfis da @hubsampagames , @adesampa e @prefsp . Obrigado pelo convite e vamos nessa. ⸻ EN Tomorrow we will be hosting a talk with @hubsampagames about game audio production. We will walk through the framework we use in our workflow, especially designed for small developers who are looking to shape the right sonic identity for their games. It will be a hands-on, workshop-style session so everyone can walk away with more clarity and, most importantly, with their games sounding significantly better. Join us through the link or via the profiles of @hubsampagames @adesampa and @prefsp . Thanks for the invitation

Aulão Lendário: Áudio para Gamedevs com Victor Hime @victorhime , Audio Director na Flutu Music @flutu__ Hoje, 1° de Novembro, Victor compartilha sua experiência com Audio Design e produção original de música para jogos nesse workshop ministrado em língua espanhola para os Membros Lendários lá no servidor de Discord da Indie Hero. Contamos com sua presença. Para participar de nossos eventos exclusivos, torne-se um Hero Lendário também, ao entrar no nosso clube você aprende mais, e ainda pode desfrutar de diversas outras vantagens. Para saber mais, acesse o link na bio.

Honored to announce that ‘The Final Exam’ has been recognized at the 2025 LIA - London International Awards @lia_awards , securing 5 Gold, 5 Silver, and 3 Bronze statues. Proud to be part of the team that collaborated with Change the Ref on this ambitious work, helping set a new standard for creativity and impact in gaming and social awareness.