Andy Wooding has a new interview with one of our former Featured Sound Designers, Coll Anderson, up over on FilmDoctor.co.uk.
I don’t know if there’s a difference. They both involve a certain level of verisimilitude and so you can’t really say there’s a difference. People will say ‘documentaries are real and fictitious films are about telling stories’ but documentaries are really about telling stories and fictional films often want to feel super real. So there’s a huge cross over between them. When you insert a camera into a situation, that situation is no longer real. It changes. It changes the dynamic. There’s a square box capturing it. We go to great lengths to show ‘oh the truth of the square box’ but it’s not true.
Head here to read the full interview.
Mark Roberts has been a BBC natural history sound recordist for over 20 years. During that time he has explored some of the remotest parts of the planet. His career has taken him high into the Papua New Guinean rainforest canopy, deep underground inside Venezuelan mountains and even right into the heart of Indonesia’s volcanoes. He has been privileged to work with the world’s leading natural history film-makers and is the only member of the BBC’s team to have worked on every one of the nine Expeditions series, starting with Amazon Abyss in 2004.
I recently had a chance to sit down with sound designer and sound FX recordist Charles Maynes and chat about his new “LA Underground” sound library, available from Rabbit Ears Audio. Inspired by the gritty and seedy Los Angeles shown in countless films, “LA Underground” is a 10 GB collection of ambiences from all over the city, from the industrial centers near the LA River to the heart of Downtown.
Designing Sound: How did this library come about?
Charles Maynes: I had been talking to Zach Seivers and Justin Davey over at Snap Sound, who I had met through Dave Yewdall. Basically, a conversation I had with them last summer was kind of the seed for the conversation I eventually had with Michael [Raphael]. They had been hired to do a film in New York, and they were going to go out on location and record a bunch of stuff in the city and at the practical locations, and they were like, “Hey, this is a really big projects for us, so we’re going to actually invest in some Schoeps mics and stuff.” They were debating whether to go M/S or X/Y.
Guest Contribution by Leonard Paul
You’ve worked a lot with animals as a sound engineer, could you give a brief history of how your initial interest in audio restoration of bird sounds has led to being the recordist for the Colombian Mountain Grackle in the mountains of Colombia?
My interest on animal sounds started when I worked on my audio engineering undergrad thesis. I paired up with a biologist that was building an animal sound archive at the Humboldt Institute in Colombia and he needed the technical help of an audio engineer to help him develop the archive. One of the objectives of this collaboration was to produce the first CD of Colombian bird sounds using the material he recorded in different locations around the country. It was a challenging project since at the time there were no local audio engineers working in this area. They were working in either music, live sound or audio post-production and all the tools available for sound restoration were focused on those applications. I tested out filters from different software including ProTools, Audiosculpt, Canary and Matlab. After a year of research, I ended up programming filters on Matlab and applying them to each recording, based on the information from their frequency content. I found, among other things, that audio restoration for animal sounds is very subjective; sometimes removing too much “noise” from a recording makes it sound out of context and it’s not pleasant to listen to. I came up to this conclusion after doing a survey to people from different backgrounds (musicians, biologists and the general public). They listened to the same recording filtered in different ways and chose the one that was more appealing to them.
We don’t often blow our own trumpet here at Designing Sound. Rather, we prefer to focus on the array of creative and technical excellence out there in the world of sound design, for the likeminded among you to enjoy. However, for those interested in learning a bit more about how and why Designing Sound is kept going behind the scenes, check out the interview with DS Editor-in-Chief, Jack Menhorn, on A Sound Effect’s blog.
Jack Menhorn interview on A Sound Effect