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Posted by on Feb 4, 2014 | 1 comment

Event: The Two Ways of Listening (Workshop)

Mixagestudio-Herculeslab

Photo courtesy of Hercules Lab.

The Royal School of Arts in Gent, Belgium, is holding six full days of listening technique and research this February and March. Elias Vervecken (sound recordist and foley artist) and Els Viaene (sound artist and field recordist) will each lead a three day workshop on listening, focusing on different relationships to the environment.

Starting from the point of silence, Elias Vervecken will investigate how noise can be made tangible and question how this relates to creating sound for image. Using the natural landscape as her starting point, Els Viaene will guide participants through investigation of the microphone as a subjective expression (rather than neutral observer) of the environment, and question how evocative aural pictures might then be combined with visuals.

The workshops will take place on 20-22 February and 20-22 March, respectively, from 10.00-18.00. The cost is EUR150.00 each or EUR250.00 if you attend both.

The language of the workshop is English or Dutch and the venue is Herculeslab – the conservatory’s audiovisual lab. Click on the link for more information and details on how to register.

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Posted by on Dec 17, 2013 | 5 comments

An Interview with John Roesch

MPSE_JRoesch2

In  over 30 years working in sound, Foley artist John Roesch has amassed an impressive list of credits, including major films like “Inception” and “The Matrix” and games like “Final Fantasy X” and “Dead Space.” With over 400 credits to his name, John was awarded the MPSE’s Career Achievement Award earlier this year. I recently had the opportunity to sit down with John on his Foley stage on the Warner Brothers Studios lot in Burbank, California to talk about Foley, how he got into the business, and where he sees things moving forward.

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Posted by on Dec 12, 2013 | 7 comments

The Sound of Tearaway

Media Molecule’s Head of Audio, Kenny Young, gives us an insight into bringing the papercraft world of Tearaway to life with sound.

Tearaway_01

 

Tearaway is an adventure game exclusive to the Sony PlayStation Vita handheld system. The player is tasked with guiding their little paper messenger buddy on a mission to deliver the message that is trapped inside their envelope head by escaping the paper world and reaching the player out in the real world. 4th wall-breaking madness ensues.

Here’s a trailer to help get your head around that!

 

 

I was fortunate enough to be involved with Tearaway from its beginnings as a small team of six people working on its prototype some three years ago. This is the holy grail for interactive audio designers, analogous perhaps to having input on a film’s script albeit with regards to the experience-led rather than narrative-led games that Media Molecule makes. I knew the process would be somewhat different to how I had worked previously, but I didn’t really appreciate quite how challenging it would be…

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Posted by on Dec 6, 2013 | 7 comments

Credit Where Credit is Due

Photo from Vancouver Film School flickr stream. Used under Creative Commons license.

Photo from Vancouver Film School flickr stream. Used under Creative Commons license.

Guest Contribution by Charles Maynes

With all the talk of what “is” or perhaps “isn’t” Sound Design, I think that largely we forget to recognize that ALL of the sound that is in a film, Television program, or interactive experience is “Sound Design”. Often times, we quickly forget the contributions of our dialog, and especially our music department in the way those sound groups fit into our end result. To claim a “reason” for that is somewhat self-evident- mainly that humans are a verbal creature in the manner of communication, and if we see a person moving their mouth, we usually have a need to hear some sort of communication come from it- even if its a baby crying, or an exhausted person panting after their exertions. Those sounds connect us to the story that the director and picture editor have laid before us (as well as the script writer). And it is a device to attach us to their narrative. Sound effects, of course have a similar sort of necessity as to making action we see onscreen be believable- whether it is someone walking across a space to giant robots destroying entire cities, we usually have an expectation to hear something that attaches a sort of aural reality to the depicted event.

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Posted by on Dec 3, 2013 | 5 comments

All Those Important Little Touches…

boots

Sometimes selling the story isn’t about how cool that weapon sounds, how intimidating the monster vocal is, or how eerie the wind feels. Sometimes, the sounds that are needed most are those tiny little touches we take for granted. Getting just the right footfall, the rattle of keys as they’re shoved into a pocket, or the gentle rustle of fabric that comes with the turn of a head. This month we pay homage to foley, because without it everything else we do feels just a little empty.

This is a website run by the community, for the community…and your voice is always welcome. If you’d like to contribute to this month’s topic, share an “off topic” idea, or are interested in contributing to next month’s topic (dialog)…then contact shaun (at) designing sound [dot] org.

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