This two-hour presentation from August 2011 by Eric Wing discusses programming audio for iOS and OpenAl.
The Recordist has released Ultimate Ice 2 HD Pro, 315 sounds at 24-Bit/96kHz, recorded with Sennheiser MKH-8040ST into SD702.
All kinds and thicknesses of ice was recorded and at many different temperatures. It was kicked, cracked, hit with a sledgehammer, crushed into itself and smacked with heavy chunks of ice. Ice debris was dropped and tossed around at many locations for a unbeatable, multiple take set of crash effects. When all these styles of frozen water and air vapor are pitched around with your favorite audio mangling tool, you will be amazed at the broad spectrum of sounds that can be created with the ultra high frequency response of the microphones.
Sound designer John Leonard has started an independent sfx library called ImmersiveFX. There are two releases available at the moment and for being reader of Designing Sound, you can get a special discount price. Use the code DFSX50 and you’ll get 50% off on both libraries:
- Sounds of Flight – An eclectic collection from my extensive archive Jumbo Jets, Military Fighters, War-birds, Helicopters and Bi-Planes From an F-16 to a Tiger Moth – it’s all here. 48/16 WAV files with embedded Soundminer Metadata – $25
- The Voice of Poseidon – 101 effects of seascapes and some river and waterfall sounds. From the gentle waves on a sandy beach to the crash of breakers on the Pacific shore. 48/24 WAV files with embedded Soundminer Metadata – $80
Sound recordist Mikkel Nielsen runs a library called Sonic Salute, where he has released four sound collections so far:
- Metal Scrap – 97 stereo/MS recordings of metals. Clink/clank/crash/boom
- The Shipyard – 16 stereo/MS recordings captured in the summer of 2011, at the commercial port of Copenhagen. The area is filled with giant cranes, trucks, and containers, and is closed to the public.
- Pigs FX – 246 recordings of all kinds of pigs, recorded at Pigfarm Esrumgaard, which has close to 1000 pigs of all ages and sizes.
- Footsteps Snow – 25 minutes of long walks in cold and snowy conditions. Recorded during tree winters from 2009 to 2011 in a remote deserted Swedish forest, miles away from the nearest road.
EFX has new changes on the site and also a new library: Colombian Countryside, including 35 nature atmospheres recorded and remasterized at 48 kHz 24-bit.
The Hud Menu Interface Toolbox features various sounds that can be used for various menus, Game HUD’s, and also small object interface interactions. It is a great tool for building, and creating response sounds to player interations, or for any type setting that may need some additional sounds for a character or actor to make when interacting with something.
BOOM Library has released free Flamethrower SFX pack.
Remember the video from Chad Thunberg, who really knows how to do some little DIY-Engineering? He’s the guy that built an epic FLAMETHROWER out of plastic pipes and a garden hose. Luckily for us, Axel was around to point the microphone towards this “eternal flame”. Guess what: It sounded just awesome. We gave these SFX away for free during our advent calendar weeks. This awesome SFX pack is now available for EVERYBODY.
Support for Android, PlayStation Vita and WiiU
Altiverb “Outdoor and More” Impulse Response package
Keyboard Shortcut Manager
Fades and automation for Music Clips
Some changes to Music Transitions:
• Transition: Cue names can be used to specify precisely where to jump in to a destination music segment.
• Stingers: Cue names can be used to specify at which custom cue exactly the stinger should be triggered.
• Callbacks: Callbacks return the name of the cues to the game which opens up new gameplay possibilities.
LFE control merged with main volume control
Wwise Gain Effect
These new features, plus bug fixes and other information on the update are included in the Wwise 2011.3.1 release notes
Volition Senior audio designer Ariel Gross has published some thoughts on AltDevBlogADay, explaining why audio designers are also ’emotion designers’ and what this means, to both the audio department and the wider development team.
It’s still Elliott Koretz’ month here at Designing Sound and here’s a story on one of his most prolific collaborations, with director Michael Mann. In this interview, Elliott shares stories about working methods, the use of music and silence and Mann’s tireless search for perfection. Enjoy!
How did you and Michael Mann meet the first time?
My association with Michael actually goes way back to “Miami Vice” the tv show. I was an editor on it for the pilot and for two seasons. But my relationship as a supervisor started with his later tv show, “Robbery Homicide Division”. I interviewed with him and ended up getting the show. I then went on to “Collateral” and “Miami Vice”. We had a number of discussions about “Public Enemies” but ultimately I had another commitment on a different film that prevented me from doing it.
How would you describe him as a collaborator and filmmaker?
I think his track record in both tv and film speaks for itself. He has been an innovator for many years. I think one of the marks of greatness is when you are channel surfing and come across a film and even though you may have seen it countless times you stop and watch it. I find I do that with many of Michael’s films. It’s very exciting working with him. I think those of us that work with him are drawn in knowing every project has that potential for greatness. Michael is the definition of a tireless worker and the challenge is to keep up with him. He works himself harder than any director I know. His demands are many and it’s important to be mentally prepared to present him your best at all times. He has many ideas about sound and expects them to be addressed as quickly as possible. It’s very important for me to be clearly communicating this information to my crew. No question it is truly challenging working for and with him but I do understand that his intensity is in the quest for his ideal soundtrack.
You’ve collaborated on two feature films. Quite often, sound can be very tricky to talk about – how did you communicate about sound and how did your dialogue evolve throughout the process of making the two movies?
That’s a good question. Before I started designing on “Collateral” Michael called me into his office one day. He was still shooting the movie and wanted me to hear the production sound on a certain scene. It was the scene in the alleyway where Jaimie Foxx is tied to the steering wheel of his taxi and Tom Cruise comes out of a building and finds that some petty criminal has stolen his briefcase from the back seat. Tom ends up shooting the guy. The alleyway was between a tall apartment building and a large above ground parking structure. The resonant sounds of the gunshots were amazing even with blanks. Michael said, “This is the sound I want here”. I did some sweeetning to the impact of the shots but the final mix contained that same production echo. It’s really cool. I think this is a good example of Michael’s clarity in certain aspects of the sound track. He will be very clear and specific about what he is looking for. To that end he has been very generous with giving me access to do extensive field recordings for his films to facilitate that and I will speak on that subject more later on. But to address the question directly, the process I found worked best with Michael was to introduce sound elements via the Avid as early as possible. I would cut sequences, crash them down to make them Avid friendly and get that material over to the picture department to integrate into their cut. I think watching the film and hearing my material in that environment got him comfortable with the sound early in the post-production process. If he embraced it in the cutting room it really helped on the dub stage later. We would also have more traditional “spotting” sessions. My crew and I would screen reels with Michael and he would give notes along the way.
The full interview can be viewed here
Rob Bridgett has released a digital ePub version his book “From the Shadows of Film Sound“. It’s available now at $9,99.
As a practitioner in video game development, Rob Bridgett has explored and written about the connective tissue between film sound production and a newly emerging video game audio production culture. This new volume brings together, for the first time, freshly edited writings with many previously unpublished articles, documenting his work and thinking over the past ten years. This book is equally suited to film sound designers intrigued by game sound production as much as those in game sound wishing to further explore the meaning of cinematic sound. A fresh, insightful, and long overdue volume offering nourishment for students of sound as well as ammunition for sound artists working on the front line of development.
You can also check the interview we did in 2010 when the book was released.
The episode #14 of the game audio podcast is available for download now.
Soniccouture has started an interesting crowd-source project called CrowdChoir.
We are going to build a unique sampler instrument – a choir / vocal ensemble made with hundreds of voices from all around the world.
We need a a minimum of 500 notes to layer in the instrument, so please help us if you can.
Everybody that sends us a recorded note will receive the CrowdChoir instrument free, in Kontakt /EXS & Ableton Live format.
The project will run for 2 months, until March 31st 2012
One participant chosen at random will receive a custom-made, 5 octave cherry-wood bcustom array mbra (worth $2000)
The London Film School is hosting a 2 day weekend workshop with Gustavo Costantini on January 28th and 29th. Gustavo Costantini earned his PhD working under Michel Chion, is a Professor of Sound and Editing at the University of Buenos Aires, University of Cinema, and at the National University Institute for the Arts (IUNA). He is also a board member of the School of Sound and part of the editorial team of The New Soundtrack. The London Film School is also offering a 20% discount to Designing Sound readers. So if you’re in the area, you might not want to miss out on the opportunity.
You can register for the course here, and make sure to use the discount code designingsound20% during checkout.
Here is a brief description of the workshop (full description is available here):
SOUND & MUSIC TECHNIQUES FOR NARRATIVE FILMMAKING with Gustavo Costantini Saturday 28th & Sunday 29th January 2012 10.30am-5.30pm – £200 – This essential 2-day workshop aims to equip filmmakers with a better understanding of how sound and images are used in filmmaking. Rather than the blank coverage approach now demanded of many sound editors, designers and re-recording mixers, tutor Gustavo Costantini advocates soundtracks to be full of ideas rather than effects. Participants will learn key elements of sound/image strategies and be introduced to all the possible uses of sound and music in film. Extensive use of film clips ranging from THE BIRDS to SAVING PRIVATE RYAN will demonstrate how difficult it is to think in terms of sound and music and how neglected these fields still are. Exclusive material provided by Academy Award-winning Sound Editor Walter Murch will be used to reveal his working methods on the assembly of sound design and film editing. This unique footage will also show the collaboration between Murch and Anthony Minghella on the opening sequence of THE TALENTED MR RIPLEY, from first assembly to the final version.