In a recent post on the blog over at A Sound Effect, Asbjoern Andersen interviews long-time animation sound pro Jeff Shiffman of Boom Box Post. They discuss Jeff’s workflow and approach to sound design, as well as the specific challenges and successes he had working on numerous animated shows. Take a look at the interview here.
In this exclusive SoundWorks Collection profile we talk with Sound Designer Tom Myers of Skywalker Sound about his work on Pixar Animation’s latest film, Monster University.
Be sure to check SoundWorks Collection for other great audio profiles.
In this exclusive SoundWorks Collection sound profile we talk with Director Mark Andrews, Re-recording Mixer and Sound Designer Gary Rydstrom, Supervising Sound Editor Gwen Yates Whittle, and Sound Designer E.J. Holowicki.
Since ancient times, stories of epic battles and mystical legends have been passed through the generations across the rugged and mysterious Highlands of Scotland. In “Brave,” a new tale joins the lore when the courageous Merida (voice of Kelly Macdonald) confronts tradition, destiny and the fiercest of beasts.
Directed by Mark Andrews and Brenda Chapman, and produced by Katherine Sarafian, “Brave” is a grand adventure full of heart, memorable characters and the signature Pixar humor enjoyed by audiences of all ages. The film’s voice cast features Kelly Macdonald, Julie Walters, Billy Connolly, Emma Thompson, Kevin McKidd, Craig Ferguson, Robbie Coltrane and John Ratzenberger.
To make the most complex visuals possible, Pixar completely rewrote their animation system for the first time in 25 years. Brave is also the first movie ever to use the Dolby Atmos sound format.
Brilliant article on Cinephile talking about the sound of Yasuhiro Yoshiura’s “Time of Eve”.
At a crucial reveal halfway through Yasuhiro Yoshiura’s Time of Eve (Evu no jikan, 6-part OVA, 2008-9, compiled into a feature film in 2010), teen Rikuo remembers a past conversation with his best friend, Masaki. Unbeknownst to them at the time, they innocently stand at crossroads. Masaki will continue his studies in law; Rikuo is uncertain, having given up his aspirations to be a concert pianist. Masaki ridicules his decision, for Rikuo has rejected his aspirations after seeing a robot perfectly perform a piece of music on the piano. Rikuo doesn’t mention to Masaki what was most disturbing about the performance: only at this point in Eve’s back-story do we realise that Rikuo was truly ‘moved’ by the robot’s performance. This is not your usual existential dilemma – a field in which teen-oriented anime excels, more than most Western photo-cine attempts at the same. Here in this near future (sardonically tagged as “probably Japan” in a pre-title card), the teen Rikuo has his world inverted because a robot achieved not a technically perfect actualisation of a piece of classical pianoforte music, but because to Rikuo’s advanced listening sensibilities (dedicated to encountering and hopefully generating such moments of actualised perfection) this robot’s performance emotionally ‘moved’ him. Japanese cinema and anime has consistently told stories in manifold genres that evidence this inversion, wherein everyday life is accepted to be ‘existential’ until one day a ‘humanist’ moment occurs and transforms things. Anime’s preponderance of ‘androids with souls’ is thus less likely to be formally motivated by generic machinations of science fiction, and more likely to be culturally determined by philosophical enquiries of dramatic fiction.
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