New article on Post Magazine featuring supervising sound editors Per Hallberg and Karen Baker Landers talking about the sound of “Green Lantern”.
Warner Bros. Pictures’ summer action adventure Green Lantern brings the popular comic book hero to the big screen for the first time. Directed by Martin Campbell and starring Ryan Reynolds, Blake Lively, Peter Sarsgaard and Mark Strong, the film serves up the tale of a cocky test pilot who comes into possession of a ring that gives him super powers and sweeps him into an intergalactic conflict threatening the Earth.
For the sound team at Soundelux (www.soundelux.com), Green Lantern posed a number of significant challenges. Academy Award-winning supervising sound editors Per Hallberg and Karen Baker Landers led the team and were challenged with augmenting the film’s many spectacular visual effects sequences, including several titanic battles between the film’s lead, who has the ability to create anything he sees in his mind, his nemesis, Hector Hammond, and a mysterious, malevolent force known as Parallax.
Matteo Milani of USO Project has made another of his great interviews, this time with Gary Rydstrom.
Gary Rydstrom was born in 1959 in Chicago, IL. He graduated from the University of Southern California – School of Cinematic Arts in 1981. He began his career at Sprocket Systems, formerly Skywalker Sound, in 1983. Offered the job by a college professor, Gary received the opportunity to work with his mentor, Star Wars sound designer Ben Burtt. He created sound for numerous successful films including Backdraft, Terminator 2: Judgment Day, Jurassic Park, Titanic, Saving Private Ryan, Minority Report and Finding Nemo. Through this work he has won 7 Academy Awards.
Rydstrom did his first work for Pixar on the short film Luxo Jr.. John Lasseter has said it was Rydstrom’s work on Luxo Jr., such as creating the lamp’s voice from the squeak of a lightbulb being screwed in, that taught him how sound can be a partner in the storytelling of a film. In 2006 he has made his directorial debut with the Pixar animated short Lifted. He recently jumped again into the director’s chair to create his second animated short Hawaiian Vacation, set to play in front of Cars 2.
(A tribute to Gary Rydstrom, by Matteo Milani)
Full interview here.
The busiest man in Hollywood (North), John Lasseter returns to the Directors chair in Cars 2 as Lighting McQueen and tow truck Mater head overseas to compete in the first-ever World Grand Prix.
Helping to bring to life the sound and music of this international espionage adventure include Composer Michael Giacchino, Re-recording Mixer and Sound Designer Tom Myers, and Sound Effects Editor Al Nelson. Git-R-Done!
Quick article from Post Magazine featuring Mark Mangini, who talks about his work on”Mr. Popper’s Penguins”.
Mangini decided to capture original penguin recordings, so he arranged to have access to the birds that were used in the film.
“We couldn’t use a regular recording facility because penguins need to be in an environment that is 40 degrees or colder at all times,” he notes. “So we built a recording room equipped with a special air conditioning system. It became our ‘penguin ADR room.’”
The Independent Game Developers Association has released the June issue of their monthly newsletter “Perspectives” which includes a healthy round up of audio related articles:
- The Audio SIG: What’s In a Name?, Robin Arnott
- Business Argument for Great Game Audio, John Byrd
- Settling the Score: The History and Practice of Video Game Music, David Federman
- Game Design Aspect of the Month: Emergence in Game Audio, Gina Zdanowicz
- Blowing the Audience Away!, Yarron Katz
- Getting the Action Music You Need, Michael Worth
- Sound Advice for Sound Makers, Mary Kurek
- Voices in Action, Ashley Zeldin
- How Sense-Deprivation Can Promote Immersion, Robin Arnott
- Game Audio Above and Beyond, Justin Lassen
- Real-Time Generative Audio Environments, Stephan Schütze
You can also check out their iPad/iPhone/E-reader-Optimized version here: IGDA Perspectives June 2011
Head on over and get you fill of whats happening in Game Audio!
I was browsing some suggestions Amazon did for the Kindle and found that Focal Press recently launched the fourth edition of “Practical art of Motion Picture Sound” (by David Lewis Yewdall), one of the best post-sound books out there. If you don’t have read it yet, you definitely should!
Practical Art of Motion Picture Sound, 4th edition relies on the professional experience of the author and other top sound craftspeople to provide a comprehensive explanation of film sound, including mixing, dubbing, workflow, budgeting, and digital audio techniques. Practically grounded with real-world stories from the trenches throughout, the book also provides relevant technical data, as well as an appreciation of all the processes involved in creating optimal motion picture sound. New to this edition are exclusive sound artist lessons from the field (including 2 new production cases studies), including insight from craftspeople who have worked on the latest Harry Potter and Batman films. All technological changes have been updated to reflect the most current systems.
- Detailed step-by-step explanation of the craft as well as professional insight from the various people working in the industry provide readers with both practical knowledge and inspiration
- Author provides a complete overview of creating effective sound for film, including motion picture protocol, budgeting info, dealing with onset politics, and technical information about recording
- Includes a DVD with video demos of techniques, sound clips, examples from the author’s films, effects, and more!
The book is available at several stores and costs $49,95. There’s also a Kindle version available for $29,47.
I found out today that DesigningSound.org turned 2 years old on June 18th (and also crossed 1000 posts)!
The amount of time, energy and dedication Miguel has put into this project is nothing short of commendable. It’s been wonderful to see this website grow over time. Like me, I’m sure it’s a great resource for everyone who reads it.
A BIG thank you to the community, all the designers/recordists who have shared their thoughts and Miguel of course – for keeping this alive and rocking!
Till the next 1000 posts, cheers!
After the great first season of the Detroit Chop Shop video diary, Ric Viers and three new interns have started to record more sounds and have more fun in a second season.
You can follow the series directly from DSTV.
It’s time for another “Behind the Art” interview, the section of Designing Sound created with the goal of studying the artistic and creative aspects of sound design. We’ve asked one of the most prolific sound designers right now, Craig Berkey, to share some thoughts with us.
Just recently, Berkey has been the sound designer for both the latest mutant magnum opus, X-Men: First Class, and Terrence Malick’s poetic The Tree of Life, winner of this year’s Palme d’Or in Cannes. Two very, very different movies which just goes to show the diversity of Berkey’s impressive career. Berkey has been in charge of the sound department on blockbusters like I, Robot and Superman Returns but has also collaborated closely with sound supervisor Skip Lievsay on the four recent films by the Coen brothers, including No Country for Old Men and True Grit – which resulted in Berkey receiving three well-deserved Academy Award nominations, two for mixing and one for editing.
The Vancouver-based Berkey shares thoughts on music, philosophy and experimentation – and how the net has helped his creative process.
Designing Sound: Could you describe your sound design philosophy? What’s sound design for you?
Craig Berkey: Sound design for me, in the world of film, is the overall thought/concept and execution of the entire sound-track. Philosophically my role as a sound designer is to help filmmakers achieve and exceed their aural aspirations for their films. I approach this with an ears wide-open attitude. I like to get a feel for the film I’m working on, not by me deciding what I think it should sound like, but by letting the images and sounds present at the time of my initial viewing soak in. This experience, in conjunction with discussions with the filmmakers, helps me discover any unturned stones the sound team can work towards revealing. If I am not open to original ideas at the start and forge ahead with the soundtrack, it can be nothing more than previously expressed concepts, perhaps with different execution.
June’s Sound Design Challenge is now open:
After a short break, the Sound Design Challenge is back. There’s a saying that goes, “Imitation is the most sincere form of flattery.” When we hear something interesting we’re to ask ourselves, “How was that made?” Obviously, the easiest way to get an answer to that, is to ask someone who knows how it’s done. That isn’t necessarily the best route though. It’s often more fulfilling, in more ways than one, to sit down and at least try to figure it out on your own. That’s why, this time around, your challenge is to reproduce a sound effect from The Matrix. I’ve also got another wonderful sound effects pack, provided by Rene Coronado, for a prize this month.