[SFX Lab, the laboratory of sound effects, a place dedicated to experiment and explore sound effects libraries. The main goal is to hear what happens when sounds of a specific kind are combined, processed, and transformed in several ways.]
Wind is such a great sound to work with. It’s soft, it’s versatile, it can sound very musical, or very noisy and aggressive, if you want. It’s very moldeable and diverse. Also, apart of serving as pure wind sound, it can be also used as a source for generating a lot of stuff such as whooshes, ambiences, drones, transition elements, etc.
For today’s experiments, I’ve got two different wind libraries, including great recordings of natural wind from North Idaho Wind HD by The Recordist, and artificial wind sounds from The Windhowler, a unique library released by Tonsturm a couple months ago.
The Film Sound Discussion Group is back! The service we were using has updated their software, which should eliminate some of the technical difficulties we encountered with the first. What better way to reboot it than with this month’s featured designer, Ann Kroeber?
For this discussion, we’ll be talking about some of the ways work-flow was influenced by the advent of digital technology. That’s going to be our starting point, and we’ll drift along in the wind from there.
The webinar will take place at 11AM (U.S. Pacific Time) on Saturday, October 29th.
The recording of this webinar is available here.
Crash Course In Location Sound is a two hour live webinar that will give you an overview of location sound for film and television taught by Ric Viers, author of The Sound Effects Bible. This is your opportunity to learn the tricks of the trade as well as insider secrets to lav placement, booming techniques, plant mics and more. There will be a Q&A session, so bring your questions!
Registration is only $29.99 per person with limited seating.
Sign up for Tuesday, October 25, 2011 at 9am PST
Sign up for Tuesday, October 25, 2011 at 6pm PST
One attendee will win a FREE Microphone Kit from Rode Microphones (valued at $1,200*) that includes:
- (1) NTG-3 Shotgun Microphone
- (1) Blimp
- (1) Boom Pole
- (1) Boom Pole Bag
More info at The Sound Effects Bible
Blastwave FX announced a new sound design competition.
Do you think you have what it takes to scare the hell out of someone in 30 seconds or less using only sound? Here’s your chance to prove it, and win SONOPEDIA 2.0! But beware, the judges aren’t easily scared… Alan Howarth (Sound Designer / Composer on films such as Halloween, Poltergeist and Gremlins), Matt Busch (Star Wars and Hollywood Is Dead Artist), and Ric Viers (Author of The Sound Effects Bible and CEO of Blastwave FX) will all be judging your work – with the lights off!
Here’s the scoop: Blastwave FX will provide you with a gaggle of sound effects (some horrifying and some sinfully simple). The rest is up to you and your evil imagination. There is only one rule: You can only use sound effects from Blastwave FX in your cauldron. If you own Blastwave FX libraries, you are allowed to use those sounds as well. If you think your piece needs a little voice-over help, feel free to grab a mic and do your best Vincent Price, if you dare.
That’s it. Blastwave FX supplies the treats, you supply the tricks.
- SONOPEDIA 2.0 from Blastwave FX
- Autographed set of limited edition Hollywood-is-Dead poster print from Matt Busch
- Autographed copy of the Halloween 4 Soundtrack by Alan Howarth
- Autographed copy of “The Sound Effects Bible” by Ric Viers
Deadline is November 1st. Rules and registration here.
Who says robot boxing won’t happen in 2020?! “Real Steel” plays out this fantasy as robots have replaced humans in boxing in this Shawn Levy film (“Night at the Museum” franchise and “Date Night”).
Charlie Kenton (Hugh Jackman) loses a chance to become a boxing champion when robots take over, and he becomes a small-time promoter. When he has difficulty making a living, he reluctantly teams up with his son Max (Dakota Goyo) to build a robot that can contend for the championship.
The stunning visual effects behind the robots can only be brought to life by believable sound. The team responsible for this difficult task include Craig Henighan (sound designer, sound re-recording mixer, supervising sound editor), Skip Longfellow (first assistant sound editor), Warren Hendriks (sound designer), Rob Nokes (sound effects field recordist), and Dan O’Connell (foley artist).
Grab your boxing gloves and step into the ring!
Randy Thom will be speaking at View Conference 2011 in October at TorinoIncontra, Turin, Italy.
Sound Design and Story Telling, a Master Class with Randy Thom
Randy Thom, Director of Sound Design at Skywalker Sound, will walk you through the process of sound design in storytelling. Thom is a firm believer that the sooner the sound designer is involved in the pre-production, the better the story can be told. He will walk you through examples of how sound can open doors and solve creative hurdles faced by filmmakers.
28 Oct. | 10:00-12:00 | Sala 1 – Cinema Massimo
In order to participate into the workshop you are required to make a donation of 3 €
Bottle Rocket FX has released Impact Collection.
The Impact Collection is a library of 304 impacts, whooshes, swells, static, rises and zaps all designed with Trailers and Promos in mind. These sounds were designed using anything I could hit, bang, rumble and smash. In the process I destroyed a couple tools and put a healthy dent in a spare refrigerator, not to mention the smashing of dozens of plates as well as my neighbor’s leftover ceramic tiles.
List of props:
Didgeridoo – Guitar -Bass Guitar – Banjo – Cymbals
Tennis Racket – Aluminum Baseball Bat
Shovel – Hammer – Screwdrivers
Plywood – Fabric Sheets – Wooden Dowels
Ceramic Plates And Bowls – Concrete – Rocks
Warehouse Doors – Car Doors – Garage Door
Hockey Net – Refrigerator – Storage Cases
All the sounds are delivered at 24-Bit/96kHz in a 1GB package. Price is $40.
Editor’s note: This article is written by Karol Urban, CAS. Designing Sound did little to contribute to this interview beyond bringing two highly skilled women together to talk about working in sound. We thank Karol for bringing her expertise and perspective to this article.
Karol Urban: What do you think it is about you or your life experiences that has driven you to become a sound designer and recordist?
Ann Kroeber: I started off in sound very much by accident. I had a dad who was very strict and Germanic and he wouldn’t even allow me to turn on the stereo. He had very expensive photo equipment and I’d sometimes go out with him when he was shooting with it. For example, I’d point out the way the light was falling on the trees as a bird was flying over and he’d capture it with his fancy camera, but I wasn’t allowed to even come near that gear. That was strictly his domain. It was like a guy thing. So, “Don’t touch it!” I just assumed that that was just a thing that girls didn’t do. (more…)
You can make your own questions to this month’s special guest Ann Kroeber. Just leave a comment or send your question(s) to miguel [at] designingsound [dot] org. The answers will be published at the end of the month.
Just a heads up for everyone that the entry period for Sound Design Challenge #12 is now closed. There are a total of 74 entries vying for the “Creatures” sound effects bundle from Boom Library (it’s worth noting that they’ve just released their “Medieval Weapons” library today). This is the largest pool that any challenge has had yet. The judges and I have our work cut out for us in narrowing down to the five finalists. Keep an eye out for when the public voting opens.
While you’re waiting for that to come around, why not take a little time to check out some of the entries: SDC012 Album on Vimeo
Thanks for the enthusiasm with this challenge.