The July Special of Gary Rydstrom ends here… with more interviews!
Road Trip Nation had an interview with Rydstrom talking about his life and sound design work.
“Since he was twelve, Gary Rydstrom knew he wanted to work in film, but he was uncertain what he would specialize in. At USC film school, he found his passion with sound. Although the film industry is competitive and difficult to break into, Gary has had encouragement from his friends and family. After graduation, however, Gary had his own doubts. With a bachelors degree in film under his belt, and now perusing a masters in film, Gary got a stroke of luck. “It was just one of those out of the blue things. I was sitting in school and [the teacher] said, ‘do you want to interview for a job up at Lucasfilm?’” Gary took the interview, got the job, and moved to San Francisco to work at Skywalker Ranch. This all took place in three days. Gary has done work on dozens of films including Terminator 2, Backdraft, X Men, and Finding Nemo. Winner of seven academy awards, Gary is happy to find his niche.”
The G.I Joe Team is back! A new film called The Rise of Cobra will premiere in cinemas in August 7. The sound design looks really good there. More gadgets, more sci-fi, and more action! Let´s Check these video vía Trailer Addict with the Film Sound Crew talking about the sound design of the film.
Let’s check this Tron Legacy video published by Sound Designer and Producer Chris Kowalski. The sound of the video isn’t the original sound design work of the movie, it’s a sound recreation made by Chris on Ableton Live, with some libraries, Propellerhead Reason, and Reaktor.
“Two things i would loved to have…. Nudge ….and the ability to change the grid to frames instead of time/bars beats. Overall it was extremely fun to do. I used a combination of library sounds for the light cycles…. propellerheads reason/NI Reaktor. Also what was a god send was abletons new crossfade tool… and the ability to do transpose automation (came in handy on the bike modulation).
Anyhow… Just wanted to see how many others out there are using Ableton for post production sound editing/design. I really do hope the company turns around and provide’s true video support at some point.”
In July 28, 2008 John Keston started a project at Audio Cookbookcalled One Sound Every Day. His aim was to create and post one different sound every day, up to 365. The day has come, and John submitted yesterday his 365th sound and realease his album Precambrian Resonance.
About the sound:
“For my 365th sound I am presenting Fire Diamond. It is track number thirteen on the album. Whereas most of this release is a departure from my usual approach, in my opinion, this track is the most similar to my previous work out of any others within this collection. I hope you enjoy it and the rest of the album. Thanks to everyone who helped me complete this work, especially Nils Westdal, who proved to me that introspective music can be beautiful through his albums, Flavor Country, and Transdimensional Bypass.”
Precambrian Resonance, the debut release of John Keston’s solo work, Ostraka, emerged after eleven months of capturing random recordings and sound design experiments exhibited on audiocoobook.org. These so called, “recipes for sound design,” led Keston in a new musical direction that harnessed seemingly chaotic behaviors of natural sound recordings and digital processing into musical forms. On July 28, 2009, after posting 365 audio experiments in one year, his collection of openly experimental pieces will be released. Until then pre-release orders are available. Pre-release download links will be emailed no later than one week before the official release date.
Here is an interesting interview with Gary Rydstrom conducted in 2007 by Kboo Radio in his Words and Pictures Program. It’s About 28:16 minutes.
“Academy Award-winning sound designer Gary Rydstrom recently jumped into the director’s chair to create the animated short “Lifted” for Pixar. Gary hosted a screening at this summer’s Platform Animation Festival in Portland, and has plenty of stories about finding soundtrack material in the strangest of places.”