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Cinematic Trailers, New Library of BOOM Available for Pre-order (Save 25%)

Posted by on May 11, 2011 | 0 comments

BOOM Library has published details for their upcoming library called Cinematic Trailers, a huge collection of sources and designed sounds of whooshes, stingers, impacts, rises, and more, all of them delivered at 96kHz/24-Bit with Soundminer metadata.

As usual in BOOM, there are two packages available:

Construction Kit – Over 2000 WHOOSHES, STINGERS, IMPACTS, RISES and more, delivered as high quality source recordings. This collection is ideal for all kinds of headlines, titles, transitions, cuts and fadings. Any movement you can think of in your trailer, presentation, movie, or game – give it a boost with these sounds.

Designed Pack – 150+ “ready to use” sounds, pre-designed huge IMPACTS, WHOOSHES, TRANSITIONS and RISES. You want to get incredible sounding results but only have 30 minutes to go? You can do some real magic with this collection! Pull out some sounds – put them in your production and blow away your audience.

Cinematic Trailers is available for pre-order at BOOM Library with a 25% discount. The price is €119 for the construction kit and €79 for the Designed package.

Interview with Eric Lalicata & Dan Snow of Anarchy Post

Posted by on May 11, 2011 | 1 comment

Hollywood Shorts has published an interview with Eric Lalicata and Dan Snow, talking about relationship with filmmakers and work flow at Anarchy Post.

Eric Lalicata is an Emmy Award winning Supervising Sound Editor and Re-Recording Mixer specializing in sound supervision and sound mixing for television and feature films. Eric is the co-founder of Anarchy Post with Dan Snow, a veteran Post Operations executive with extensive film and music video production experience.

As co-owners of Anarchy Post, along with film producer Ryan Harper, they strive to help filmmakers avoid many of the pitfalls that can plague the post audio process. Anarchy Post just won the MPSE GOLDEN REEL AWARD and CINEMA AUDIO SOCIETY AWARD for their work on Sony’s 30 Days of Night: Dark Days. We asked Dan and Eric to share some of their insights on what filmmakers should know to ensure a great sound design and mix for their projects.

Continue reading…

Via @postaudiomixer

David Sonnenschein Special: Sound Spheres

Posted by on May 10, 2011 | 4 comments

David has offered up an excerpt of his article, “Sound Spheres: A Model of Psychoacoustic Space in Cinema,” to our little community. The full article appears in the Volume 1.1 of The New Soundtrack, available through Edinburgh University Press (an excellent journal that I highly recommend). David and I will be having a phone discussion on Friday about this new model of his, to be transcribed here on DS. So, if you have any questions or feedback about this article, make sure to leave a comment. I’ll do my best to include each one in our conversation.

Genesis of Sound Spheres

As a sound designer, musician and filmmaker, much of my creative work is based on personal experience in the world, based on my own senses. I have spent a great deal of time alone in the wilderness listening to unknown animal calls and finely sculpted natural soundscapes, as well as in foreign countries that offer unexpected sonic reflections of human culture. Through the simple act of listening and observing my own physical, mental and emotional reactions to the surrounding sounds, the stories of these places, people, creatures and events began to coalesce into a pattern. This pattern was drawn from the previous theoretical structures I had learned from studying and creating films (traditional models mentioned above), but extended beyond into this dynamic model that I now call Sound Spheres. (more…)

Peter Brown on Giving Hollywood Vehicles a Voice

Posted by on May 10, 2011 | 1 comment

The Car And Driver website has interviewed Peter Brown (from Soundelux – Fast Five, Fast & Furios, Spider-Man) while he recorded cars at the California City airport. It is an interesting article as it is connected less with the technicalities of recording cars but more about the usage and capture of such sounds in the context of a Hollywood film, while achieving the director’s vision.

California City is one of those places with no apparent reason for being. It’s stuck out in the middle of the Mojave Desert where it’s brutally hot in the summer and windstorms will sandblast the paint off your car any time of the year. Fewer than 15,000 people live here, and if they didn’t have jobs at Hyundai’s nearby proving ground, a lot of them would leave. But California City has an airport. And since that airport is never, ever busy, it’s the perfect place for Peter Brown to record car sounds.

Click here to read the complete article.

Chris Sweetman: Audio Director of “Brink”

Posted by on May 10, 2011 | 0 comments

GameSpot has published an interview with Chris Sweetman, the audio director of Splash Damage’s upcoming sci-fi game Brink. He talks about his career and his role as an audio director/sound designer.

Splash Damage’s upcoming futuristic shooter looks to stands apart from other shooters by focusing on parkour-style movement along with gunplay. The gunplay is what falls into audio director Chris Sweetman’s territory, a role where all things related to audio must come together and not sound like a garbled mess. In this e-mail Q&A, Chris shares how he got into sound design and the work that went into making all of Brink’s weapons sound unique.

Read the interview here.

The “Brink” developer diary also has a feature on the sound of the game. Sweetman explains his approach to the game’s design and also the use of multiple perspective samples, detailed Foley and a granular system for the gun sounds. Read it here.

More Sound Effects from the Independent Libraries

Posted by on May 9, 2011 | 0 comments

Sound effects makers never stop. Here’s what’s coming soon in the indie libraries:

TONSTURM has announced The Whoosh, sfx pack of whooshes, pass bys, etc.

JordanFehrFX released Porcelain Destruction (Smashes, Breaks, Impacts, Debris, Shatters, Pieces, Moves, Shakes), including 34 files (3-5 performances each) at 96k/24-Bit.

The Bells are coming to Rabbit Ears Audio

And last but not least, The Recordist is offering Thunderstorm HD at a special price of $50 (50% off). (Update: Snowballs HD Ultra is also coming. Snowball madness at 192k.

Hart FX Announces New Releases, Motorcycle Sound Library Available for Free

Posted by on May 5, 2011 | 2 comments

Colin Hart has been very active with his company Hart FX, since the recent announcements of new releases (LFE Effects, two more), new assistant, and also new fantastic blog posts about their field recording trips. Colin has also released a new free library of sounds recorded from a Yamaha R1 motorcycle, at 96kHz/24-Bit.

Colin comments on his blog:

I’ll be writing about these topics:

1. Intro to the series (the article you are currently reading)
2. Recording the Yamaha R1
3. Recording at the Mechanic’s Garage
4. Falls Park Recordings
5. Recording Explosions
6. Recording Firearms

I will also be doing a series of tutorials that are related to some of the topics that I’ll be talking about. I’ll be releasing them periodically over the next month. Here’s the list of those topics:

1. Tutorial: Mic Placement with A Single Mic
2. Tutorial: Mic Placement with Multiple Microphones
3. Review: What surprised me about the RØDE NTG2
4. Tutorial: Recording with Multiple Machines

More here.

IGDATC Presentation: Footstep and Movement Sound

Posted by on May 4, 2011 | 2 comments

YouTube Preview Image

Since embarking on my informal game sound study of footsteps and movement sound, things have continued to develop in a remarkable way. What started casually, quickly spiraled into a lengthy debate involving many people and uncovering  some interesting patterns.

I recently reprised a presentation I gave at GDC this year at my local IGDA chapter in an attempt to share the findings of the initial study and continue the discussion with some of the new information gleaned in the meantime. If you missed it at GDC or are interested in some of the additional insights that came out, this presentation breaks down the fundamentals and unique considerations that emerge across a diverse cross section of game genre’s and uncovers some curiosities and aesthetic choices .

It may be not so surprising to have found people who feel passionate about the role footsteps play, but it’s no less fascinating to hear how deep people’s experiences go, and how willing they are to share their perspectives. What once seemed like a small part of game audio, has taken on a whole new light after being placed under the microscope. I’m thankful to everyone who has contributed to the conversation during the last year, and hope that by sharing these insights we can all move forward and give appropriate attention to movement sound in games.

Hit the IGDATC link for some additional related articles: IGDATC Video – Footstep and Movement Presentation