This is a guest article written by Ariel Gross, Audio Director of game development studio Volition Inc, which produces such PC and console titles as the Saint’s Row and Red Faction series. You can view Ariel’s introduction post here.
I Feel Like a Fraud and So Can You!
Every now and then I feel like a fraud. Every now and then I feel like I’m merely masquerading as a professional. Every now then I feel a little bit terrified, and then I see the look in your eyes. Wait, wait. Sorry. That last one was from a Bonnie Tyler song. But here’s the thing. The more I open up about this feeling to others, the more I realize that lots of other people feel this way, and it can be really comforting to know that we’re not alone. And actually, it might just be okay that we feel like frauds. Good, even!
How is it “okay” to be a fraud?
Well, hold your horses there, header. I never said that I am a fraud. I said that I feel like a fraud, and there’s a big difference. I’ve never claimed credit for something that I didn’t actually do. That would make me an actual fraud. If I have done that, it would have been unintentionally, and I would be mortified to find out. I would shout from the tallest mountain that there was an error.
It’s more like a sense of disbelief that I occasionally accomplish things that are actual things. To be clear, actual things are what I’ve always endeavored to do, and I believe that anyone that sets out to do actual things will likely become more capable of doing an actual thing. And that is just fine… for other people.
June’s featured sound designer, Coll Anderson, has been working on some new ideas for his personal site recently. The photo above comes from a short post titled, Idea of the day…
It’s a funny little collection of some workflow thoughts that are worth the read. So head over there to check out what’s going on in that photo.
And while you’re at it, check out some of the quality sound effects libraries that Coll has for sale. There are some very cool sounds available, here are some examples from his Gore library:EFX SD Gore Various by C. A. Sound, Inc.
Check out the rest here.
Niall Collins and John-Paul Borchardt have recently launched Box of Toys, a new blog dedicated to explore the audio post industry on Canada, but also sharing a useful news, videos, articles, and all kind of general content.
Box of Toys is a platform to broadcast new, exciting and nerdy audio related news to you, the surfer! From video interviews with today’s top Canadian post audio professionals to blogs about the technology that will shape the future of sound editing, Box of Toys’ mission is to showcase Canada’s post production audio industry. The site was formed by two post production audio editors and re-recording mixers working out of Toronto Ontario, Canada. Niall Collins and John-Paul Borchardt have been working in the film industry since 2007 and have already earned a reputation for quality and professionalism.
There are already some great posts, including a really nice profile on foley artist Andy Malcolm, who is also owner at Footsteps Studios, Uxbridge. Take a look:
More stuff of the Box:
A Conversation with Morgan Freeman
MOS: Location Sound Horrors That Bleed Through to Post
Sound: The Rodney Dangerfield of Film Production
Here, there or everywhere?
Box of Toys on Twitter
Damian Kastbauer, writer of the audio implementation greats series has published an insane list of game audio links that he collected during the past year. Lots of very informative articles!
Now that 2010 is closed out, I just wanted to take a second and round up a batch of links to various projects that I was involved with and get them all lumped into a ‘splosion of game audio. Every single one of them was made better by the involvement of others, and for that I am thankful.
It is truly a beautiful thing to work along side such creative individuals and to be able to share the common goal of engaging people in the art of sound. I hope that the new year comes with new prospect, and that you will all continue to shape and inform the future of interactive sound to the fullest.
Shaun Kelly has published a transcription of a very cool interview he had with Dane A. Davis.
Shaun: How do you go about putting sound to film?
Dane: Sound editing is really all about, you watching the film not as an editor but as the audience. You have to follow the sound in your head. what are you hearing in your head? If you are hearing what is coming out of the speakers and it is different from what is in your head you have some work to do. You have to follow what is in the story. There are emotional needs of the story telling. Then there is the willing suspension of the perceptual point of the storytelling. Meaning if somebody is standing on the street corner in a movie and a car drives by, does that character perceive the sound of that car going by? If so you need to put a sound there. If not then you don’t. If that character is totally lost in thought, you might not want to have the sound of the car going by but you don’t want to make the audience think there is a mistake. So it could be portraying the sound of the car going by as a whooshing sound because that is the emotional experience of that character standing next to the car going by. First it is emotionally what sound is necessary then in terms of the perceptional reality what rules are you following or not following. The best sound editing is the least predictable and the most familiar. When I worked on the Matrix it was everyone’s intention to not put sounds in the movie that anyone has ever heard before, but at the same time there were requirements like doors that close and guns being shot. The modified reality of the virtual world helped but people still have to believe that the humans in the film believed the sounds they were hearing. Every movie has the same challenges. You have to figure out what the priorities are for the audiences experience.
Via: Social Sound Design