Coming to The Shed (NY) June 25 to September 13 Doug Aitken’s LIGHTSCAPE is an immersive seven-screen film installation exploring identity, transformation, and human connection across shifting natural, industrial, and digital landscapes. Blending music, film, and architecture, the work follows interconnected characters through fragmented contemporary worlds - from deserts and automated factories to urban isolation and the digital realm.
Featuring music collaborations with the Los Angeles Philharmonic and works by Philip Glass, Steve Reich, Meredith Monk, Beck, LA LOM, and Sound Design & Mix by Q Department’s Drazen Bosnjak Doug Aitken, LIGHTSCAPE evolves through an ever-shifting sonic and visual environment. Tickets go on sale May 15TH. #dougaitken #qdepartment
AI AI Q Department latest Original Music Sound Design Voice Augmentation and Mix for PwC and the good people at @ogilvy and @furlinedproductions , directed by #SpeckGordon. Agency: Ogilvy @ogilvy
Chief Production Officer, NA: Tim LeGallo
Executive Producer: Dre Libreros @dre_dre_black
Production Company: Furlined Productions
@furlinedproductions
Directors: Speck Gordon
Director of Photography: Lasse Frank
@lassefrank
Editorial: Cabin @cabinedit
Colorist: Daniel De Vue @danieldevue_colorist
Music Sound Design Voice Augmentation and Mix by: Q Department @qdepartmentstudios
ARC Creative
Managing Director: Angela Lupo @angelalupo Executive Producer: Nick Fraser @nickanddog
🇫🇷Q Department Paris collaboration: A documentary of ‘Soulwax Presents: Abbey Road After Hours’ premiered on YouTube 18th March - go watch it now! Sound Design & Mix Q Department Paris @jbsaintpol@iconoclast.tv@so_me_ma_sen@abbeyroadstudios
Q Department and @the.mayda.creative.co presented MadWomen Los Angeles this week. Thanks to Venice Film Immersive @lizzierosenthal for cohosting with us! #TheBreakfastClub
Repost from @kenzominami from way back in the archives one of our favorite collaborations!
I was looking through old animations for a part of pitching presentation, and I found this old animation I made for FUSE TV station ID in 2004.
I originally wanted to do the idea of Graphic Grenade exploding and all the graphic coming out of it, with its station name “fuse” and all, but this was a few years after 9/11 and the station understandably asked if I don’t do the grenade. So I made that into a robot. You still see the initial idea of the grenade with pins as ears, etc. And the sound was done by the magnificent Dražen Bošnjak @qdepartmentstudios and honestly the sound design is the best part of this spot. If I remember correctly, he recorded the clicking sound of pumping the shotgun for mechanical clicks and pins.
I only could find 720 x 480 resolution file and I also had to re-render it in After Effects because QuickTime Player didn’t recognize it. (1) Did we used to deliver the finals in such a small resolution for TV broadcasting purposes in 2004? I had been in the broadcasting business since the time of delivering them in Beta Tapes and can’t remember it anymore but I guess it was that low res back then? (2) Did they change the format of QuickTime in past decades, and you can’t read old movie files?
@cadillacf1@wearetranslation@unit9ltd@qdepartmentstudios The frosted glass is set to clear to reveal the full car and livery immediately following the Cadillac commercial during the 4th quarter of the Super Bowl, expected to be around 10:30 PM ET. Over the course of Super Bowl weekend, the Countdown Box has taken on many forms, shifted visual, sound modes and content as the clock winds down. The reveal marks Cadillac’s entrance as F1’s 11th team for the 2026 season.
Times Square is running a real-time, choreographed, location-based story: a chrome “Countdown Box” staged like a live set, with controlled sightlines through frosted glass, fleeting silhouettes of the Cadillac F1 car, and a timed sequence of light, texture, sound and partial reveals that keep the object just out of reach. The score sound design and mix evolve across the full run shifting tension, pacing, and scale: so the build feels embodied, not merely observed. Inside is a full-scale replica wearing Cadillac’s inaugural 2026 Formula 1 livery, held for the final beat synchronized with the Super Bowl spot so the broadcast drop and the street-level reveal land as one. New York City becomes the medium. #superbowl
Sound Hunter Series®️Wind is one of the hardest sounds to capture cleanly and one of the most revealing. Dražen on location with the Schoeps ORTF-3D microphone, an eight-capsule array, into a Sound Devices recorder. Full ORTF plus height information, coherent phase, stable spatial imaging, and enough directional control to capture wind as pressure and movement rather than environment Pure wind. #fieldrecording #spatialaudio #mach1spatialsystem #qdepartment
Q Department collaboration TERRITORY VR has been nominated for a Producers Guild of America (PGA) Award. An important immersive work created with Kinetic Light (the disability-led dance company), Double Eye Studios, and visionary director Kiira Benzing redefining what performance can become in VR. Congratulations to the entire team and this year’s other Innovation finalists: ASTEROID, Big Wave: No Room for Error, Targo’s D-Day: The Camera Soldier, and The Wizard of Oz at Sphere. #PGAwards #TerritoryVR #spatialaudio # qdepartment
Sundance, circa 2016: launching The Martian VR Experience with Ridley Scott & Associates, 20th Century Fox, and director Robert Stromberg. (Cannes Lions Silver, Proto Awards recognition, and an AICP Next VR Award.)
In the same year, Oculus Story Studio’s Dear Angelica directed by Saschka Unseld arrived, Emmy-nominated.
Q Department delivered the immersive sound and mix on both.
MadWomen returned to the St. Regis for its annual breakfast. Drazen Bosnjak joined Mike Woods, futurist Ted Schilowitz, and director Robert Stromberg on the “Hacking the Senses” panel at The New Frontier. And SHOTS Magazine asked Jacqui Bosnjak to report on the experiences shaping Sundance that year.
Park City nostalgia is real. Next year, Sundance heads to Colorado.
In 2012, Dražen Bošnjak and Q Department collaborated on the sound for Marco Brambilla’s Evolution (Megaplex) as part of Sundance Institute’s New Frontier program - at a moment when Sundance was quietly ushering in the immersive, interactive revolution.
As Sundance takes its final bow in Park City this year, that New Frontier moment reads like a first chapter: it set Q Department on a lasting trajectory as a definitive force in immersive sound - a straight line to the present with a SNL50 360 (Emmy Award, 2025), Meta’s Red Rocks VR series (Emmy-nominated), and UFC 306 at Sphere Las Vegas (6 Sports Emmys) and a new production in the works for 2026.
It began at Sundance.
