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Posted by on Sep 30, 2009 | 0 comments

Ben Burtt Special: Wall-E – Animation Sound Revolution!

Ben_Burtt_WALL-E

This is the end of the Ben Burtt Special. In the Extras of the DVD of Wall-E there are an amazing documentary called “Animation Sound Design: Building Worlds From The Sound Up”. You have to see it! Don’t worry if you don’t have the original DVD, I found that video on YouTube. The embed was disabled but you can see it through this links: Part 1 | Part 2.

Finally, let’s check another interview with Ben Burtt at Time Out London:

Does a sound designer have to be as much librarian as artist?

‘Absolutely. The elements and resources that a sound designer works with are collected from the world around us, and I’ve been collecting sounds for years. Putting in sounds from the real world creates the illusion that these fantasies are credible. So I was always gathering sounds. Animals at the zoo, going out on an aircraft carrier to do motors and airplanes. Travelling around the world, I would always have my recorder with me. If there was a thunderstorm I’d record the thunder. If I got a flat tire I could get a good sound of the rubber slapping the road. I’ve found that almost every sound I’ve recorded, I’ve found a way to use.’

Did you actually invent the term sound designer?

‘Some people think I did. I was one of the first, I may not have been absolutely the first. The film industry in sound was originally divided quite sharply between those that recorded sounds, sound editors that synchronised the sounds and sound mixers who were blending everything together. And what George Lucas wanted me to do was record, do the sound edit and then be around to supervise the mixing, so there was one vision throughout. Because the problem with the process was that it wasn’t coordinated properly.’

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Posted by on Sep 29, 2009 | 0 comments

Rob Bridgett and the Dynamics of Narrative

Dynamics

Bob Bridgett has published a new fantastic article at Gamasutra, this time exploring common examples of dynamics from horror cinema and how those rules can be adapted to game design and game audio in any genre through graphic visualisation and planning techniques.

‘Design’ is one of the most important areas of sound design, in that the sound designer needs to sit down, over the course of many planning meetings, with game designers and plot out and map the intended experience from start to finish.

This is done via each and every mission and cinematic and decide where the game needs to deliver the biggest impact, both from a macro-cosmic level for the entire game, and potentially a microcosmic level for each mission stage. This is, in effect, designing the dynamic range of the game experience and mapping where audio will follow that curve or any areas where audio needs to play against that curve.

Audio clearly needs to be involved in this planning process as music, sound and dialogue are some of the more potent tools for delivering subtlety and intensity in a game. This process is one of the many aspects of sound design that doesn’t involve sitting in a studio designing sound effects and tuning game audio, it is potentially the most important to the integrity of the whole soundtrack, as it will dictate where music, fx and dialogue all need to work together with the game flow.

Read the article here.

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Posted by on Sep 28, 2009 | 1 comment

Ben Burtt Special: Star Wars – Episode II: Attack of the Clones

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Yoda

The last part of the Ben Burtt – Star Wars Special. This time with Episode II: Attack of The Clones. I have two interesting articles to share to you. First article is from Film Sound, a really interesting interview with Ben Burtt talking about the sound of Episode II:

It sounds like an enormous undertaking.

The thing about any ‘Star Wars’ film, especially the ones that we’re doing now, is that post-production is almost like making two feature films at the same time. You’re doing a live-action feature film, with all the necessary logging and storytelling-through-editing, and all the data that needs to be managed for a regular feature film. You’re also really doing a full-length cartoon because almost every shot in the movie involves animation, which has a different approach to how you design a shot and where the images come from. In the end, every shot becomes a special effects shot — and there are thousands of them. So anyone coming on in post-production on this picture side is faced with managing these three huge areas: normal feature, fully animated feature, and then the two of them being interlaced with one another in complicated ways.

When did this whole process begin for you?

We’ve been on the film for two years. In March of 2000, I started previsualizing sequences. I would get a verbal description from George of a sequence, like the “Speeder Chase,” and then begin creating images for it and cutting things together prior to going to Australia so that he could react to it. We did a lot of editing up front that helped George to design the sequence, to pick out camera angles and to develop the action in the sequences. By the time we got to filming in Sydney, there were three or four pieces already edited as what’s called a “videomatic version” of a sequence, which was a good reference for George while he was shooting. A lot of decisions had to be made ahead of time about what angles, what coverage, and what kind of motion would make the sequence work the best. George traditionally likes to work out as much of that as possible before he gets on the set. [...]

About how many layers of video were you dealing with for each shot?

On the average, we probably had five or six layers of video for every shot of the movie, and sometimes many more. You very rarely had everything in front of the camera. The whole movie was shot in pieces. So the editing room activity for me became a great deal of constructing images, as well as cutting together the story with those images. Also, you could cut a scene together and see what worked and didn’t work. Then, to make corrections, you could start altering the image and changing the timing, changing the location of a character or actor on the screen, cutting them out and moving them over a little bit, shrinking the whole frame so they could paint a bigger set around it, or adding and subtracting characters. It became a very complicated editorial process.

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Posted by on Sep 28, 2009 | 3 comments

10 Interesting Videos About Sound Design for Games


IPR School has posted five additional videos to his compilation of videos about creating audio for videogames. Maybe you already seen some of these here at DS, but be sure to see the rest, very interesting!

Playlist 1-5 [View]

  • Heavenly Sword
  • Harry Potter and the Order of the Phoenix
  • Gears of War
  • Dead Space
  • Gears of War 2



Playlist 6-7 [View]

  • Scarface Game
  • Chronicles of Riddick: Dark Athena
  • Battlefield: Bad Company
  • Operation Flashpoint 2: Dragon Rising
  • Shatter PSN



Aditionally, there are a few quotes of a text-based interview with Rich Carlson, co-founder of indie development group Digital Eel. You can read it here.

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Posted by on Sep 25, 2009 | 1 comment

Experibass: The New Diego Stocco's Experiment

Experibass
Diego Stocco strikes back! This time with a new video of a new amazing work called Experibass. He said:

Few weeks ago I visited a luthier looking for instruments parts, I had an idea in mind for an instrument I wanted to build. My curiosity was to hear the sound of violin, viola and cello strings amplified through the body of a double bass. I came up with a quadruple-neck experimental “something” that I thought to call Experibass.

To play it I used cello and double bass bows, a little device I built with fishing line and hose clamps, a paintbrush, a fork, spoons, a kick drum pedal and a drum stick. I hope you’ll like it!

Thanks to luthier John Wu for providing me the parts, even though I warned him that I was probably going to create a “monster” : )

Diego Stocco Official Website

Diego Stocco Behance Portfolio

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