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11

(fade up on scene already in motion) The old rickety elevator, which should have been taken out of service a decade ago ago, shimmies up to the 38th floor as it has for years. But, unbeknownst to the lone passenger, this trip will be different... (cue A MENACING GROAN FROM ABOVE as the cable strains against an unknown force, and suddenly...) CRACK!!! The ...


10

In my opinion, the only true rule in sound designing is: It must be believable. When it comes to stuff like bonestructure, and mouth cavity form for example, noone really cares as it's virtually impossible to predict exactly how such things affect vocalization even for someone studying these things for a living. Mass do affect the sound as bigger lungs and ...


9

To answer your last question... " do I have a chance of producing something of even intermediate quality with what I have in my "arsenal"?", the answer is yes...Sound Design really only requires three things... two ears and a brain, and I'm going to assume that the fact that you are here and asking these questions puts you in possession of all three! :) ...


8

Try this out: [youtube]m40ZAfJb4f8[/youtube]


7

When I establish, or experience, sound design based on a concept, that usually means a set of overarching design principles or themes that act as a set of heuristics that can guide decisions - and critiques - made along the way. Is it intended to compliment or contrast the emotional tone of a scene? Are there emotive descriptors that can be used to influence ...


6

Nothing really apart from fooling around with "AVOX Throat" IMHO. It's going to be really tough to try to accomplish that without ADR. I'd really suggest strongly seeing how you can go that route. Also, did the actor deliver the lines in a different timbre than his/her regular lines before the possession? That alone would be cause for ADR in my opinion - ...


6

this sounds like a fun problem. :) by what percentage is the footage slowed down? if its in the 10-20% range, you could go with straight foley and it may work (no pitching or slowing down required, just perform it to picture) and leave bgfx natural sounding. This will give the impression that all of this is actually happening at the slower speed in ...


5

People say this a lot but listen (analyse) to the different mediums where sound design is used. I'm no expert but when I'm listening I ask myself why that sound is used as pretty much everything you hear was a conscious choice, I always try to keep that in mind. Also many sounds sound alike, think about what you think it sounds like and how you would create ...


5

Picking recordings that have an electronic quality to them or modifying them to have an electronic quality to them. Pitch shifting already does a lot and makes the sound something very different, as does using different types of effects (e.g. delay-based, automated), as does sampling "odd" parts out of the recording e.g. around transients or after them or ...


4

It may sound horrible, but try toying with using a reverb with an IR of glass or ice breaking/cracking. You can also do a lot with breath. When I create special voices like these I spend a lot of time augmenting or even replacing the breaths and exhales of the actor with custom effects depending on the character and his mock-up, in your case you could use ...


4

Sound design is not something you can learn overnight, and it's far more than just sourcing sound recordings. Perhaps you should work with a sound designer on these projects and ask them to let you in on a bit of the process so you can learn in small steps. You might even find someone to help here....


4

i think i know what you mean, like give you almost a physical reaction... the famous "bite the curb...' scene in american history x... just that sound of the teeth on the concrete is what scares me the most and makes me want to turn away... i also remember in 127 hours when he has to place the knife to the nerve endings in his arm and there is an almost ...


4

I think peer critiques are great, especially for folks just starting out in sound design. There's a neat little subreddit called r/RateMyAudio that is meant just for this and it could definitely use a larger active community.


4

What an exciting journey! My two cents worth: Regarding the safety of your data, be sure to upload to the cloud (Dropbox or the like) whenever you have internet. Bring WAY more memory cards than you think you will need, then double that. As long as you can get it to the cloud and know someone back home has copied it locally AND backed it up preferably ...


3

You can make the classic transformers sound using a flange and tremelo and preferably source input that rises and falls in some way. For example ....choose anything from a simple sine to a complex sample, slow lfo on it's pitch, pass it through meta flanger into tremelo and fiddle with the trem speed etc. For more complex transformations, it's good to ...


3

This question is really broad and would require a book to answer. But I will say that I believe that a primary role of sound designers, especially those working in movies with visual effects or animation, is to make the audience believe what they are seeing on screen is indeed real and interacting with the physical world. A CGI Dinosaur or an enormous ...


3

Sound design by itself is not different from composing music, it just works on a different level and operates on a different set of processes, rules and theory. Generally it may also focus on different types of sounds ("musical sounds" vs. basically any type of sound that fits for the purpose). But in a musical context or as well in a media context those two ...


3

I know what you mean. Sometimes I wish I had the ability to have track folders like in Logic, a feature that Pro Tools hasn't absorbed yet. I'm not sure if you're asking about a literal template file or just a standard structure for your workflow, but ultimately it's just about your preference. Let's say that I am designing a standard romantic comedy — ...


3

Record a wheelbarrow with well-lubed bearings on the surfaces you need: No motor noise, true pneumatic wheel. I can't count how many effects I've generated with wheelbarrows..!


3

Focus on relationships. Knowing how to use sound is just a start, but just knowing the craft is not what's going to keep you employed, it's people. A nice portfolio will show that you've done something, which can be both a topic for discussion and an artifact/asset. In job seeking it's what you'd mainly use in order to get to interviews. But past those, ...


3

I agree with everything @Internet Human said. I've worked professionally at a studio for almost five years and relationships are everything. The people who really understand that what we do is fundamentally a service industry and structure their work philosophy around that are the ones who go the furthest. Relative to a lot of disciplines, the social ...


3

As a game sound designer for over 20 years, I'll second all that has been said already! Know tools, know processing, know storytelling, know coding or at least scripting. You might consider taking some acting and directing classes while at the University; I found myself on many occasions doing voice casting and directing and my experience in the theater was ...


3

I gotta say, if you're a mac user, Michael Norris Soundmagic Spectral. Wild stuff. I'll spend some time a few mornings of the week just putting up a drum loop or something else like noises in logic and just switching the plugins out and recording the outputs. They can be difficult to follow because the terminology is not similar to many other plugins, but ...


3

I don't think it's necessarily out of form. If someone is posting here in hopes of gaining attention or exposure within the sound community, they're wasting their time. If, however, they're looking for honest and constructive criticism, they've got a good chance of finding it. To be honest, I tend to ignore reel posts. I just don't have the time to sit down,...


3

With a lot of channels you can imitate a vocoder: You need to split the carrier and modulation signal into frequency bands as Internet Human stated. For each frequency band you need 3 tracks with the exact same filter setup for example for band 1 you chose lowpass at 100 hz and highpass at 50 hz. One channel has the modulator as its input signal, the other ...


3

By knowing people who work in said American companies (esp. in marketing). By interning/working in an audio (post) production house that does a lot of the productions that you're interested in. By knowing freelancers that do said productions and getting them to hand you some of their work (e.g. editing) and forming a partnership that way. By establishing ...


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