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Posted by on Dec 31, 2012 | 10 comments

Analog Worldization

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.

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Posted by on Oct 19, 2011 | 1 comment

Ben Burtt’s Sound Lab for “Forbidden Planet”: Artifacts from the Krell

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

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