Once again our friends at the Tonebenders podcast have delivered a great episode! This month, they spoke to Mad Mad Fury Road vehicle recordist Oliver Machin about his work on the movie. Head to their site to take a listen, or catch them on iTunes and Stitcher.
As many of our readers know, sound design is frequently overlooked when people start talking in-depth about media production. It’s no surprise, then, that we here at Designing Sound get pretty excited when we find out someone is taking a closer look at an element of the craft. In that spirit, we wanted to bring your attention to a Kickstarter for Actors of Sound: A Foley Art Documentary. This film by director Lalo Molina and his team (listed on the KS page) seeks to bring attention to the human and performance elements of foley, as well as the fantastic artists who do it, but they need your help to produce the movie. Head over to the KS page and check it out, but do it soon; at the time of posting, there’s only 16 days left!
In a new entry of their continuing series of film sound profiles, the fine people of SoundWorks Collection feature a discussion with Tomorrowland‘s sound designer, Kyrsten Mate, and re-recording mixer, Gary Rydstrom about their work on the recently-released movie. You can hear their discussion here.
Following on from last month’s interview with The Chinese Room‘s Director and Composer Jessica Curry I was lucky enough to grab some time to chat with the studio’s Audio Designer Adam Hay.
Designing Sound: Thanks for taking the time to speak to me Adam. So, looking back through your credit list the first games you worked on were at Traveller’s Tales?
Adam Hay: That’s correct, yeah. I started doing music technology at University and when I finished my degree I knew I wanted to get into games. I’ve been a lifelong game enthusiast. The first game that had a big impact on me was Monkey Island 2. I saw that first when I must have been 7 or 8 and I was totally enraptured by the sound and music of that game. I’ve been a bit of an adventure game addict since then. I got into early things like Click and Play and Games Factory so after University it seemed like a natural extension of my two passions, music & sound and games, to try and get into the industry. So I sent my post-University CV of to every games company in the UK and as luck would have it TT were looking for a junior sound designer at the time and I was lucky enough to get in there.
Broken Age launched Act I in January 2014. Funded through Kickstarter with it’s development the subject of an epic (and ongoing) documentary courtesy of 2 Player Productions, the game was noteworthy for a number of reasons. I personally really enjoyed the games sound and music so in August 2014 I caught up with Camden Stoddard, the lead sound designer on the game for a chat. I was lucky enough to catch up with him again in March 2015 and also meet the other members of the audio team, Ashley Coull and Paul O’Rourke, as they closed in on the end of Act II
Designing Sound: Hi Camden. Thanks for taking the time to chat to me today. How are things going?
Camden Stoddard: Well, we’re in a weird place right now. I’m in Broken Age Act II land now. There’s a lot of layouts being done and there’s a whole bunch of work coming my way and I can’t really touch it until it’s locked. So now I’m kinda sketching and guessing what they’re going to do. So right now, I’m actually helping out on a couple of other projects, working on Costume Quest 2 and Massive Chalice.