Used under a Creative Commons license. Click image to view source.
I was born in England in 1988. Some of my earliest memories involve old BBC and Mac computers. I grew up listening to CDs, MiniDisks, playing “Duck Hunt” on my sister’s NES. The dial-up modem sounds are imprinted on my memory. I recall my father ordering books from Amazon.com back when that’s all Amazon sold. In my teen years I assembled my own computer to save money and grew to appreciate the inner workings of a computer. What I’m trying to say is, I’m an early product of the digital age, it’s all I’ve known.
Guest contribution by Cormac Donnelly
I am, at heart, a techno-nostalgiast and I’ve worked with tape machines of one kind or other for most of my career. When I sold my 2” multi-track, in 2010, I resolved almost immediately to get myself another tape machine (albeit something a little smaller than the 250kg Otari I had just parted with). A few weeks later, I found myself owning two portable Nagras. I have since realised that the only reason any one person should own two Nagras is so they can indulge in a spot of worldizing.
Ben Burtt explains how the electronic score of “Forbidden Planet” was created. The video is at the right side of this page.
Prior to the screening, Oscar-winning visual effects supervisor Craig Barron and Oscar-winning sound designer Ben Burtt investigated some of the secrets behind the making of the film. Barron examined the film’s breakthrough effects sequences that used miniatures and matte paintings, as well as explored how Joshua Meador created his animated “id monster” effect and combined it with live-action photography. Burtt explained how the electronic score was created, using newly discovered source tapes from the film’s composers, Louis and Bebe Barron (no relation to Craig).
via @vfxblog / @usoproject