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 ...


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

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

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

I recently saw the film Killing Them Softly. Though the film didn't do great commercially, there are a few nicely done sound design-y moments. Eg. the scene where 2 people are beating the Ray Liotta character. Here are a few things the sound editor has said about how they did the sound for that scene. And it is really effective. The punches sound brutal and ...


2

You say Black Ops, so I would guess likely something like a Glock 17 or 26, or SIG-Sauer variety, maybe even a Beretta 92 if you're talking handguns (especially silencers). If they have assault rifles, my guess would be something more like an M4, H&K MP5, maybe an FN P90, or an AK74. Check this out too: Internet Movie Firearm Database In the end ...


2

Well, depends on how are you going to solve the acoustical issues. As you probably know, all speakers will be considerably inaccurate in frequency response as well as stereo imaging (How much? It has to be measured.) unless the placement is done optimally and there's at least some kind of acoustic treatment. If you can solve the acoustical problems to a ...


2

I don't know what speakers are best. I use 5 Genelec 8030s in my home studio with a 15" Blue Sky Sub and controller. I don't find them fatiguing at all, but rather too open and transparent in the highs to translate perfectly to cinemas. Without the sub they are wanting in the lows. They get plenty loud, unlike the Blue Sky monitors I've used in the past. ...


2

I vouch for the JBL LSRs. The workhorses are the 4328P's, I've lost count of how many near/mid-field stages and edit suites in LA I've been in which had these installed (and that's not even mentioning stages running the Cinema Series horns behind a perf screen). Even the 6300 series is common to find in rooms. The one caveat is that a single 4328 cabinet ...


2

In star wars Darth Vader’s lightsaber is pitched to a minor key, while Obiwan Kenobi’s is pitched to a C major key. This is in 'Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema' by Sonnenschein.


2

I'm not sure you'll find a magic plug-in for this. The majority of the effect is performance from the actor and then some EQ, reverb and maybe a bit of distortion. Remember that an FX plug-in will enhance what is already there, but if it's not there is the first place (from the actors) no amount of processing will give you the magic you desire.


2

one character that sprang to mind is Arby from the Channel Four series 'Utopia'. If you haven't watched it, it's definitely worth checking out and the theme music is awesome too. Anyway, this character Arby has been given a continuous, out of breath foley aspect, almost as if he's really unfit. I'm pretty sure the majority of this has been added in post. The ...


2

Gorillas walruses & time stretch. Godzilla was largely a leather glove on a detuned bass string, if I remember correctly. Depends on what's roaring though


2

If it's just dialog that you are recording then rent a couple lav mics if you can then make sure the audio coming off them is nice and usable. The problem with a hypercardioid mic in a reflective room like that is there are always going to be significant secondary reflections off of those hard surfaces. Because a lav is so close to the source those ...


2

I've always used things like jet engines and thunder from libraries and a mish mash of other odds and sods. Another trick I tried was to compress a sound until it distorts the converter, (you need to turn your speakers off for this) then send it to another channel and record it at a lower level. If you've ever played Titanfall you'll know the sound I mean. ...


2

Firstly, there is no set formula for this. You have to... a) train your ears b) use your ears. The only standard I would adhere to is to pick a loudness level and make sure your final mix conforms to that. -24 LUFS will be a good place to start. Always make sure that your dialogue is able to punch through the music and effects. Dialogue is king. You can ...


1

Wow, "Irreversible" I'm curious and want to go back and pay attention to the sound that you are talking about but I really don't want to see that movie again. I was really surprised with the sound design of the show HANNIBAL, specially that first episode on the first season.


1

I suggest a spotting session with the client before you cut anything. Sit down and go through the material with pen and paper in hand. Other than that, clients really do change their mind a lot. Having no supervising sound editor is not unusual in low budget features. But in your case if the bureaucracy is keeping you from getting in touch directly with the ...


1

totally agree with Bit Depth. I do alot of work with actors and that kind of effect you're hearing is all in the performance. Maybe some slight distortion or harmonic enhancers to bring out the frequencies but I don't think that's a plug in effect.


1

DISCLAIMER: I am veeeerry tired and maybe the following text is just plain stupid. In that case: Excuse me and ignore the following :) I think thunderclaps can be used in different ways. If thunder is used only as a dramatic effect, there is no reason to be realistic when it comes to time delay. In those cases the thunder could be understood as something ...


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