This is just a reminder that we have a live chat/webinar coming up on Saturday with this month’s featured sound designer, Ann Kroeber.
The chat will take place at 11AM (U.S. Pacific Time) and is, like everything we organize on this site, completely free. It will be a moderated discussion that will give you the opportunity to interact directly with Ann. If you have a webcam and microphone, have them ready. If you have a particularly interesting question, we’ll give you the opportunity to come on cam for the rest of the group so you and Ann can discuss in real time (have your headphones ready to prevent feedback loops though). [note: Skype will not be required for this, AnyMeeting has updated their client, allowing us to have multiple video/audio streams simultaneously.]
You can register for the live chat here…so sign up now! ;)
The webinar will also be recorded and available for viewing afterwards if you are unable to attend.
The time is slipping, the clock is ticking, got crust in my ears cuz’ the wax is dripping….wait, what?
Meant as a witty sound-related rhyme, with the most crucial aspect being the passage of time, the previous sentence has everything to do with the latest Game Audio Podcast. It’s often said that one can “make time” for anything of importance, but I still haven’t found the secret recipe to create something that at times seems non-existent. As it is, all the more relevant that you’re stuck reading these ramblings in expectation of the delivery of some actual information.
Two podcasts have dropped recently which represent very different circles of game audio.
Game Audio Podcast #11 – Sound Design Challenge Review bw/ Graham Gatheral Interview
We look back at Dynamic Interfernce Game Audio Challenge. Damian & Shaun compare notes on the various entries and Anton tries to keep them on point. We segway into some game & book reviews. Also the audio version of Damian’s interview with Graham Gatheral. Which was previously published in transcribed form on designingsound.org
Game Audio Podcast #12 – Bastonion Times bw/ Darren Korb Interview
Anton seeks out Darren Korb to talk about his work on the awesome Bastion, book-ended by Damian zooming in super crunch…
Which brings us right back around to the unending flexibility of the concept of time. So, if you are one of those people who can “make time” or “find time” or “set aside time” for a good ol’ fashioned round up of game audio conversation, your ears will be met with fascinating insight into the use of procedural and synthesis techniques for game audio and how they contribute to a more dynamic audio experience in addition to a deep-dive on aesthetics, composition, and the unique role of dialog in Bastion. If you listen closely, you might even find the secret to this whole time dilemma.
Until next time!
“The emotional, physical and aesthetic value of a sound is linked not only to the causal explanation we attribute to it but also to its own qualities of timbre and texture, to its own personal vibration. So just as directors and cinematographers (even those who will never make abstract films) have everything to gain by refining their knowledge of visual materials and textures, we can similarly benefit from disciplined attention to the inherent qualities of sounds.”
The following is a transcription of an interview Ann participated in for the BBC. It is transcribed here for your convenience. However, if you would like to listen to the interview, then I encourage you to visit Ann’s site. The interview can be found on her “Credits + Talks” page under the “Radio Interviews” heading. Don’t forget to sign up for the live chat with Ann, taking place this Saturday.
BBC: “Eraserhead” may have quickly become a cult movie, but the cult was awfully small. That would change when the faithful were joined by an unlikely convert. It was as if Cecil B. Demille had taken holy orders, when the comedian Mel Brooks hired David Lynch to direct “Elephant Man.”
[soundclip from “The Elephant Man”]: Life…is full of surprises.
BBC: Once again, Alan Splet and Ann Kroeber created the sound.
Andrew Spitz has published a great post on his blog talking about the sound he designed and programmed for the BMW Tunnel Experience.
A few months back, with Mann Made Media, I had the privilege to work on a great project for BMW. BMW was announcing their sponsorship of the South African rugby team – the Springboks. Our brief was to simulate the feeling a rugby player would experience as they walk onto a packed stadium. It was well received and we were finalists at the Loerie Awards 2011.
The goal was to quickly and effectively give participants a feeling of excitement and pride. I was going for an army-like collective – a stadium is the perfect venue for this. There’s nothing quite like the unison of a packed stadium cheering and singing an anthem to unify a country. Fortunately the Soccer World Cup happened recently, so I had lots of material. Also, for a commercial I had gotten a small crowd of 20 to sing the anthem and also had them stomp their feet together, which is the sound stomping you here in the first two mixes below (with lots of processing). All and all, each loop is made up of a gazillion layers!
This is a follow up post to Jamie’s article from last night. I spent some time at the Avid booth today to get answers to questions I developed after catching up on the press release data; and to also address some of the points that Jamie brought up in his article.
Let’s start out with this fancy new multiple file formats in the session. It’s quite happy looking at nearly anything you can throw at it. This includes the RF64 wave files that Jamie mentioned in his post. Pro Tools will handle these types of files natively, without any issues. So, yes, multi-channel audio files over 4GB in size are now supported. It’s important to note, however, that
bit and [was incorrect on this…multiple bit rates within one session is supported] sample rate conversions will still need to take place on import. The sessions will not support files of multiple rates, only multiple formats (aiff, wave, etc.) (more…)
I watched the Avid at AES 2011 streaming press conference so you don’t have to.
The AES presentation took a few minutes at the beginning to give an overview of where Avid and Pro Tools are today, in particular going over the products that Avid released in 2010, in particular:
- The new M-Boxes,
- The HD Native hardware and interfaces,
- And the opening-up of Pro Tools to 3rd-party audio interfaces.
So given this context, the big news is the announcement of Pro Tools 10, with “over 50 new features.” Several were demoe’d and I’ll try to characterize them as best I can. There are two tiers of software, regular and HD, and there are new, next generation DSP cards. At times they were a bit fast and loose about what software/hardware configuration gave you which features, but there is now a feature grid at Avid that you can check out yourself.
New features below the fold…
(Edit: I’ve gotten ahold of the new manual and will update some of the questions I had with answers.)
Congratulations to Judge Rice, the winner of Sound Design Challenge #12: Lifeless Howl. It was a fantastic challenge, with so many excellent entries that I quickly lost count. His win was well earned, and it nets him a free copy of the Creatures sound effects library from Boom Library.
A big thanks to Boom Library for sponsoring this Challenge. The next will start on Thursday, November 17th, at 5PM U.S. Eastern Standard Time.
Supervising Sound Editor Lon Bender of Soundelux discusses the creative process behind the sound design for DRIVE.
Ben Burtt explains how the electronic score of “Forbidden Planet” was created. The video is at the right side of this page.
Prior to the screening, Oscar-winning visual effects supervisor Craig Barron and Oscar-winning sound designer Ben Burtt investigated some of the secrets behind the making of the film. Barron examined the film’s breakthrough effects sequences that used miniatures and matte paintings, as well as explored how Joshua Meador created his animated “id monster” effect and combined it with live-action photography. Burtt explained how the electronic score was created, using newly discovered source tapes from the film’s composers, Louis and Bebe Barron (no relation to Craig).
via @vfxblog / @usoproject