Michael Raphael has been recording and releasing high res sound effect collections for sound designers and editors since 2010. His site Rabbit Ears Audio covers such diverse sonic ground as Hind Helicopters, train whistles, and typewriters. In a recent collaboration with Audio Director Rob Bridgett he has released a new library called Port of Call and they’ve kindly offered to give us some insight into its creation. Many thanks to Michael and Rob for this contribution.
So last weekend I was on vacation in Atlanta with my recently proposed-to fiancee. In addition to going to a Ghost show, zoo, and the aquarium; we hit up the World of Coke.
The World of Coke museum is less of a museum and more of a huge advertisement for Coca-Cola beverages. From getting funneled in a short guided tour of memorabilia and then getting herded into a huge theater to watch a 7 minute commercial for Coca-Cola, the entire experience feels very much targeted at emotion, sentimentality, and and nostalgia.
The most interesting thing to me about the visit throughout the museum was the lack of actually seeing the brown liquid. Outside of a miniature working version of the Bottle Works, where you get to see them bottling Coca-Cola, you don’t *see* it. However, you certainly hear it.
Rob Bridgett is an audio director at Eidos-Montréal.
Leonard Paul is the president of the School of Video Game Audio.
Images courtesy of Rob Bridgett & Leonard Paul
Nine years ago, we collaborated on an article on the idea of limitations for Gamasutra and wanted to see where our thoughts would take us. This time around, rather than produce another article, this submission is a set of our musings meant to be used as starting points or inspiration when working with the limitations of game audio.
Allowing a view of the long-term in our art gives a certain freedom but it can also be paralyzing unless we set limits on ourselves.
An exciting, creative challenge is one with well defined limits: a well defined brief; a box to play in.
Not only do technical limits advance but also creative limits as well.
Working within a genre is a form of self-limitation (style and structure, for instance, “we’re going to write a 3 minute pop song”). A platform/format is a limitation: 12 inch, an LP (two sides), a CD (long running playlist). We need to consider the equivalent boxes and structures in games (menu, mission, genre, format, art style).
When the topic of restriction first came up I immeadiately thought of the Dogme 95 movement. It seemed like such an obvious response that I spent some time hunting around for another topic. Inevitably though I’ve come back to Dogme. Partly because it really is a great example of working under restriction, but also because the films created within the movement are so striking in their subversion of the restrictions placed on them. This also gave me the opportunity to revisit two films I enjoy immensely, Festen (1998) and It’s All About Love (2003); both directed by Thomas Vinterberg and written by Vinterberg and Mogens Rukov.
Guest contribution by Matthew Marteinsson. Audio Director at Klei Entertainment. Klei recently released Invisible Inc.
Restrictions. Usually it’s a bad thing. Something we fight against and
work around. I certainly look back at the restrictions of old consoles
with no fondness. But then you look at what The Beatles did with a 4
track (well a couple of 4 tracks and some bouncing) and you start to see
some magic in restrictions. These days with unlimited power in our tools
(relatively) putting some restrictions on ourselves can be a good way
to force yourself into some creative solutions.
Image by flickr user Boston Public Library. Used under a Creative Commons license. Click image to view source.
In my relatively short career, I’ve been fortunate to work in a variety of roles within different frameworks (freelancer, startup, in-house and a contract employee). Whilst we sometimes hear people discussing what specific roles are like, we don’t often hear about these different frameworks and how they compare. I thought it might be interesting to share my observations on what pros and cons I found in each of these frameworks. So whether you’re a student looking for your first opportunities or a seasoned pro looking to transition roles, I hope some of these insights prove useful.
There’s a lot of things to like about Frozen. The animation is beautiful, the script is tight, the performances are great, and it even features a catchy tune or two. It’s also got some great sound. Check out the opening ice cutting sequence. It probably had whole cinemas ducking for cover in 3D but even in plain old 2D it works. The effects are great and when you get out from under the ice into the open air there’s that indefinable ‘softness’ to the soundstage that only happens in a snowy environment. And the film has a lot of it; ice, snow, crunchy, soft, cracking, and exploding and it all sounds just right. But my favourite thing about Frozen are some door knocks from right at the start.
Steve Tibbo, CAS, with cart on set at “Modern Family”
GUEST CONTRIBUTION BY DALE CROWLEY
A few days after this interview with Steve Tibbo, he was nominated for the 6th time for a Primetime Emmy Award for Outstanding Sound Mixing for his work on ABC’s “Modern Family”, where he has been the production sound mixer on every episode other than the pilot. The episode that was nominated is called “Connection Lost“. We discuss this episode in detail and talk about this complex undertaking as well as many other topics ranging from his work on Modern Family to the gear he uses to record on set and on location, and we also delve into his work in re-recording mixing, ADR, and sound design for film and TV. This month’s theme is “Favorites” and “Modern Family” is my favorite TV Comedy and sound is my favorite subject.
For the last 6 months or so I’ve been an avid reader of Stephen Follow’s blog. I stumbled across it when I was looking for some ideas for a class I was teaching and I’ve been hooked ever since. Amongst other things Stephen writes about the business of making films and offers a tantalising glimpse into the murky world of budgets and film finance.
Beyond some of the more eye-opening content on there (Iron Man 3’s 3,310 strong crew for one) I was drawn to a few sound related stats e.g. the average size of sound departments and also the proportion of a £1 million film budget which is allocated for sound (£16,882 in this particular case). Clearly there’s nothing like a good stat to confuse the issue and a figure like this presented on its own means very little but it did get me thinking about the economies of film sound and for this month, the specifics of the business of Foley.