Did you miss the live chat with Ann Kroeber today?
Rejoice! There is a recording available.
A huge round of thanks goes out to Ann for taking the time to chat with us, and thanks to everyone who participated in the chat. Note: If the webinar does not seem to be playing back correctly when you click on the link, try refreshing the page.
Update: Ann also sent along a few comments, post webinar, that she’d like me to share with you.
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.
Don’t forget to sign up for the live chat with Ann on October 29th.
You’ve contributed to a number of very well known games and franchises in recent years. What’s are some of the similarities and differences you’ve encountered between the game and film industries?
As far as sound in these two industries, both film and game sound brings us into the picture and stirs up our emotions. It also helps make the images come alive. In film as the story evolves the sound is used to back up the story, and helps make us feel a certain way about the images. There are usually longer and more elaborate sequences to take the viewer through a story with film, and with game sound there is a far greater variety of generally short sounds. Unlike films, these sounds elicit an immediate, active, reaction from the player.
I think whereas more time goes into pre-production sound work on games than most films, unfortunately for freelancers, an awful lot of this time can be spent dealing with contracts and legal issues instead of being creative. Though sometimes on high budget films there is a fair bit of legal back and forth that is needed, I find that there are way more contract negations with game companies over licensing.
Ann would like to share with you, an interview that she participated in with Weekend America a few years ago. The interview is about recording animals:
Ann Kroeber: I don’t think of myself… I’m not going out and thinking that I’m an animal expert just because I can talk to them. I think that every time I do it, it’s always something new. It’s like a surprise to me.
You can listen to the interview (or read the transcription, but you’ll miss some interesting recordings that way), on the Weekend America site.
Don’t forget to send us your questons for Ann, and to sign up for the webinar we’ll be hosting with her later this month.
The Film Sound Discussion Group is back! The service we were using has updated their software, which should eliminate some of the technical difficulties we encountered with the first. What better way to reboot it than with this month’s featured designer, Ann Kroeber?
For this discussion, we’ll be talking about some of the ways work-flow was influenced by the advent of digital technology. That’s going to be our starting point, and we’ll drift along in the wind from there.
The webinar will take place at 11AM (U.S. Pacific Time) on Saturday, October 29th.
The recording of this webinar is available here.