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Posted by on Feb 18, 2011 | 0 comments

Vanity Fair: Mark Stoeckinger Talks Unstoppable’s Sound Editing

Vanity Fair has published an article featuring Mark Stoeckinger, who gives an overview of the sound editing process, step-by-step, by showcasing several clips (Full mix, dialogue only, and sfx only).

If you’ve ever lost money in an Oscar pool, at some point you’ve had to ask, “What exactly is the difference between sound editing and sound mixing?” Although that probably means you’re not winning the pool, a film’s sound design is just as crucial as good lighting or smart editing in creating the movie magic that your recreational Flipcam videos lack. Ever in the service of making you a better Oscar gambler, Little Gold Men asked Unstoppable’s supervising sound editor, Mark Stoeckinger—nominated this year for an Oscar—to break down editing for us. “The sound editor is like the art director, and the sound mixer is like the cinematographer: the art director comes up with everything that’s filmed, and the cinematographer decides how to photograph it,” Stoeckinger says. Specifically, a sound editor assembles all the sound you hear in the final picture, which is gathered from both production sound captured the day of shooting (usually, though not exclusively, dialogue) and Foley/effects captured later (usually including dialogue recorded later to match the picture). A sound editor then selects the right pieces of sound to accompany the picture and manipulates them as needed, a process Stoeckinger compares to sculpting clay: “You start off with one thing, but you can always mold it to something else. You listen to a lion growl and think, If I slow it down, add a lot of reverb and reverse, I can make it this alien thing.” In fact, as sound tools have become more sophisticated, the the desire to enrich a film through its sound has grown exponentially; these days, even a typical romantic comedy has more sound work than an action movie from 30 years ago did.

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Via @soundesignblog

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Posted by on Feb 4, 2011 | 0 comments

Having Fun with The Recordist’s Ultimate Mud and Ultimate Splash [Review and Demos]

I admire Frank Bry a lot, not only for his great design work and philosophy, but also for the incredible job he does at The Recordist, one of the leading companies in this era of sound effects independence. Today I’ll talk about two of his recent libraries: Ultimate Mud and Ultimate Splash.

Apart of the great sounds included in Frank’s libraries, there’s a lot of “hidden” lessons inside. With that I mean that you can learn a lot from just listening those recordings and checking its beautiful metadata. For example, I never thought about the incredible amount of things you can record from Snow, until I worked with “Ultimate Snow”. Also, Frank’s metadata process has influenced me a lot. I simply love his great organization and fantastic taggin approach.

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Posted by on Oct 29, 2010 | 0 comments

Having Fun with Small Motors SFX Library from Rabbit Ears Audio [Review & Demo]

Michael Raphael recently released Small motors on Rabbit Ears Audio. This package is terrific sfx collection full all kind of little motorized devices, including appliances, broken devices, and also a really cool robot: the Maker Bot 3D Printer.

This library maintains the same great sounding stuff from the first Rockets library. It’s recorded at 96kHz/24-Bit and comes tagged with full metadata description. The sound quality is really great and all the files worked perfectly in my project, where I tweaked and stretched them in a lot of different ways. Let’s talk about my favorite features.

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Posted by on Aug 20, 2010 | 1 comment

Building Sounds with "Cinematic Metal" by BOOM Library [Review+Demo]

Some time ago, the guys at Dynamedion Sound Design Team launched his own independent sound effects company, called BOOM Library and also released Cinematic Metal, his first collection of sound effects, wich I’ll review below.

The package is divided into several parts (max 1,9GB each one). Everything downloaded fast and decompressed without problems. They have a really cool way to release the libraries, giving a package with designed sounds (in this case called “Cinematic Metal – Impacts”) ready to use and also offering a construction kit which includes a lot of raw material, the same used for designing the Impacts pack.

I own the Cinematic Metal Bundle, wich include both packages. The Impacts package is very good. It comes with 200 powerful and great impact sounds and also cool things like sweeteners and some other designed content. The sounds have a lot of variations and different approached on the designs. Is a really cool package for anyone who needs different types of impact sounds ready to use.

What I really loved was the construction kit. The HD package includes 1100 metal sounds, all of them perfectly tagged (checked with AudioFinder and Soundminer) and mastered. You can find all kind of metal sounds… From sword sounds to car door slams, all kind of hi, mid and low metal impacts, cymbals, metal sheets, and lots of reverberant and dry recordings suitable for making all kind of impacts, sweeteners, whooshes, etc, and also perfect for other creative uses to create things like full resonating textures, spaceship/sci-fi sounds, etc, like BOOM guys show on his great Battlestar Galactica demonstration.

That’s what I wanted to do with this library, something different than Impacts. I said: “let’s make five different textures or sci-fi sounds using no more than five sounds from the construction kit. I processed the sounds in a lot of different ways (pitch/time stretching, modulation, harmonic manipulation, waveshaping, etc) and they responded really well, giving me a lot of flexibility. All the processes were done at 96kHz/24-Bit in Pro Tools. Here is what I made:

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