11

Hi Matt, sounds like you have a pretty tall order in front of you. I think that you're absolutely correct to break the parts of the production up into different sessions. Being free to open whatever plugs you want in whatever situation you need is a big benefit of that approach. I'd also advise coming up with an order of priority and a rough milestone ...


10

Library producer here (echo collective, echo collective:fields) regarding cleaning background sounds - All background fx cleaning is destructive and alters the source in some way. The reason this step is not done is because that type of work really requires context to be done well. In other words, if you place a sound with some background wind or ...


10

I want to tell the story from the designer perspective and I totally agree with Rene's answer. I do sound design for video games. I always prefer non-edited files even if they require some extra work. Sometimes I find a very nice sound to fit my project but disappointed to see it was ruined because somebody assumed that it is better to add some fancy FX so ...


6

Hi Willa, I would put it in stereo mode and select input 1 or 2 (this will de-select the external mics). In the "Input" menu, make sure stereo link is OFF. This will allow you to adjust the recording level for Input 1 and 2 independently (simply press 1 or 2 on the h4n and then adjust the input level for that channel). Plug in your microphones into the xlr ...


5

Um, it doesn't really matter if a sound is real or not in a movie, actually very few of them are. Generally, if the audience actually thinks of a sound as a sound effect, no matter how good it might be otherwise, it has failed. Take for example light-sabers. We all know they're fictional, with absolutely no base in reality whatsoever. Still we all now for ...


5

Try mandy.com as well as craigslist. Also, make sure you offer, at very least, a token compensation. There are so many ads on craigslist offering "credit and copy" (which should be a part of any working relationship anyway). I can imagine that a lot of the ads calling for volunteers would be flagged by people tired of seeing them. Even just $100 - whatever ...


5

No birds or other animals in BG. Quiet BG, since everyone is indoors trying to stay warm. Small sounds seem magnified in contrast to the quiet of the ambient sounds. Distant sounds are duller due to greater atmospheric absorption of high frequencies in colder temperatures.


5

What is he supposed to be brainstorming? You could try building some sort of montage out of sounds associated with the idea. Obviously, making it sound pleasant and happy will really depend on what sounds you select. Avoiding noise-like sounds and selecting ones that have a clearly defined pitch will help. Stick with combinations of frequencies that are easy ...


5

small skinny rope with a lightly weighted object tied (VERY SECURELY) to the end - record two layers - one of big looping swooshes for the initial flight out the window - maybe a 10 foot extension of the rope, then shorten the rope to 2 feet or so and go much much faster in a circle for the uncoiling. xlr cable could also work.


5

Most film is art, not life/reality. Sound designers have to match the visual art on screen with the sonic art of their mix, and that usually includes a certain amount of "realer than real", suspending some of what we "know" about physics in order to tell the story in a way that translates to this 2-dimensional, 2-sense media. Case in point, when we see some ...


4

Keep in mind that in our technologically advantageous climate that Sound Designers don't need to be local unless there's a specific situation that requires it. I do remote work all the time. 99% of the time actually. And yes, as @Roger mentioned, please offer some form of compensation. Any of us worth our salt or worth hiring really has no need for credit ...


4

I strongly recommend you to get a copy of Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema by David Sonnenschein. It will give you a good idea of all the elements to look out for in sound design for film.


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

This is just me coming off-the-cuff, but imho if you plan on becoming a "professional sound designer" then I'd skip that masters degree. I doubt very highly that having that degree will get you any more jobs than you would've gotten without it, and it will surely put you into a great deal of debt. However, if your aim is to pursue your dream into the realm ...


4

Each individual grain in that loop is a complex piece with varying pitch through its course, repeated fast, but with space between each grain. There are numerous ways to do this, but myself I often use first and foremost my Commodore 64, and make good use of the "revolving waveform"-function it's so well known for, in combination with quick and heavy pitch-...


4

Usually the smaller more intimate sounds will provide the detail, so you'll have those larger, slower, heavier wave sounds as the body and you can provide movement and texture and detail with smaller splashes, sprays etc mixed in.


4

I had a listen to jetpack videos online and it sounds like there's two types. On one you can hear a combination of turbine noise (pitched) and filtered noise (unpitched) while on the others there is only filtered noise. TLDR: white noise through a coplex network of filters and EQs. So I'll start by the filtered noise which is not only more simple but also ...


3

Social Sound Design has been a great resource to me over the years and I've gained a lot of knowledge from all of the people contributing. And in an effort to keep that momentum going I choose to post an answer to this question - with reservations. I do not like the title of this question. Nor do I like the grotesque escalation of violence in every form of ...


3

It depends on what the director's after, willing to supply you, and what you're happiest working with. I personally would request seeing the video as it would allow for me to work a lot more accurately and efficiently. Just supplying SFX based on examples you've been given could be a little 'robotic' and there's a high chance that they could seem unnatural ...


3

if there's dialogue, over compress it. Really bring up the lip and mouth noises, the subtle slurps and wheezes. It's really uncomfortable listening and I feel it brings out the desperation/harshness of talking in the cold


3

The link here is not specifically about sound design in film but about how sounds get patented and are linked to certain products. I found it very interesting as to how a sound can remind us of something or make us do or buy something. I thought you might enjoy it. A neurological sonic trip. http://99percentinvisible.org/episode/the-sizzle/


2

This guy, Fletcher901, is doing a good job - he explains how he makes the Predator sound too:


2

It sounds like you're still working your way into this process, and I think you're going to have a hard time getting much that is substantive from such a broad approach. You'll probably find it much more beneficial to focus on smaller bytes of information first. Select a scene only, and watch it over...and over...and over............and over. Get to the ...


2

The only way to find out it to talk to somebody who worked on the show. Credits can be VERY misleading. I worked on a show with a "sound designer" credited who literally did nothing on the show. Other films I have worked on people credited as FX editors did design work. The line between the two is blurry to begin with. I'll bet you a dollar that on this ...


2

+1 for Andrew's suggestion. My suggestion for you would be to break down film sound into components and approach the film for each one. Please feel free to look at my old dissertation if it helps you in that regard. http://ianpalmersound.com/2010/08/26/64/


2

hit up your school library and borrow all the post sound books they have. they can be expensive once you finish school and don't have free access to them anymore


Only top voted, non community-wiki answers of a minimum length are eligible