image by wgbieber, click limage to view source
Guest Post by Kate Finan
The studio owner skimmed my resume and nodded several times. He glanced up at me, back down at the resume, and then carefully set it back on his desk.
“Your credentials are great. The chair of the Sound Recording Department recommended you very highly, and we have a close relationship with him. So, we will hire you… We will hire you, but you won’t last. We will make sure of that.”
He paused, and I waited for an explanation.
“We don’t hire women. Studio policy,” he stated matter-of-factly.
As many of our readers know, sound design is frequently overlooked when people start talking in-depth about media production. It’s no surprise, then, that we here at Designing Sound get pretty excited when we find out someone is taking a closer look at an element of the craft. In that spirit, we wanted to bring your attention to a Kickstarter for Actors of Sound: A Foley Art Documentary. This film by director Lalo Molina and his team (listed on the KS page) seeks to bring attention to the human and performance elements of foley, as well as the fantastic artists who do it, but they need your help to produce the movie. Head over to the KS page and check it out, but do it soon; at the time of posting, there’s only 16 days left!
Nick Cave (L) and Warren Ellis (R)
Warren Ellis is unstoppable. The busy Australian is a member of – at least – three different bands: The Bad Seeds, Grinderman and Dirty Three. He plays violin, piano, bouzouki, guitar, flute, mandolin, viola and, yes, probably even more. He is pretty much constantly touring the world, making records or creating soundtracks. Anyone who’s experienced him onstage with Nick Cave knows his powerful presence and amazing musicianship – he’s been a member of Nick Cave and the Bad Seeds since 1994.
Together with Nick Cave he’s scored several films, among these The Proposition (2005), The Assassination of Jesse James by the Coward Robert Ford (2007), The Road (2009) and just recently they did the score for the French drama Loin des Hommes – Far From Men is the UK title – which is based on the Albert Camus short story and set in Algeria in the years leading up to independence.
This month’s theme here at Designing Sound is Destruction and Ellis is someone who’s not afraid of gritty, noisy, textured, explosive, destructive sound – his approach to sound is often to use accidents in creative ways. Here he talks about his methods and inspirations – and why he loves cinema:
In a new entry of their continuing series of film sound profiles, the fine people of SoundWorks Collection feature a discussion with Tomorrowland‘s sound designer, Kyrsten Mate, and re-recording mixer, Gary Rydstrom about their work on the recently-released movie. You can hear their discussion here.
Guest Contribution by Chris Burgess
There are two points to this article. The first is, if you see something you want to do, get out there and make it happen. The second, being that when an opportunity presents itself to you, be aware enough of your surroundings to scoop it up (and then record some awesome sounds). What follows is an account of my attempt to record dry ice on various metals. What I learned and the mistakes I made in case others wish to repeat this session for their own use.
In a recent blog post over at Boom Box Post, company co-owner Kate Finan discusses here recent experiments — and successes — in using contact microphones for underwater recording. It’s a great examination of some of the alternatives available for the (sometimes expensive) commercially available hydrophones on the market.
Looking for a new sound design tool? Short on cash? If so, you may be in luck. The Pro Audio Files is giving away three copies of Iris 2! But better act fast on this one. Entries must be in by 5/22. Head here to enter!
Photo by Flickr user Kit, used under Creative Commons License
I love building things. I spent a great deal of my childhood building all kinds of creations out of LEGO and K’NEX (and I still do). Of course, one of my favorite parts of the building process was the necessary destruction of the older things to make the new. Working with sound, especially taking apart the normal, everyday sounds to build new and interesting sounds, has always struck me as an extension of this. Though I’ve gleefully annihilated countless LEGO creations over the years, the scars on my fingers from sharp plastic bricks are there to remind me that while it can be a great deal of fun to destroy all the things, a tiny bit of caution can go a long way. (more…)
Guest contribution by the fine folks at TONSTURM
As the theme of this month is destruction we are really happy to be invited on Designing Sound to share our stories about the production and creation of our latest sound effect library:
TONSTURM | Massive Explosions:
Brighten the Corners of Game Audio
This article is a guest contribution by Damian Kastbauer and does not reflect the views of DesigningSound.org or its Contributing Editors
I wondered how my life post-freelance would change my experience at GDC. Worried that I might not have the drive to meet and connect with people, without the dependency on hustling for opportunities. Ultimately the opposite proved to be true: this year was even more socially pronounced than ever. I met so many new and caught up with so many old friends. People and conversations continue to be my absolute favorite part of GDC; skimming the cream of inspiration from peoples experiences helps drive my excitement for this industry. Coming out of this year’s #GameAudioGDC there’s an overwhelming swell of emotion which can be felt rippling outward across the community with each passing day. It’s through these proclamations of passion and seeing people right-back to working on initiatives surrounding game audio that has helped me pull out of a post-GDC depression. After riding a week of enthusiastic positivity, its hard coming to grips with the hard work that needs to be done to follow up some of the difficult epiphanies about our culture that have surfaced within our industry through the gracious sharing of perception and experience of people in the community.