Film Soundtracks are made up of 3 components:
Each of these three components can be broken down into two distinct types:
These types define when the sound was generated. This can either be during the "Production" phase of a film shoot, or during the "Post-Production" phase, after the principal and ...
The first thing I do when I'm beginning a film is to WATCH it. (Better yet, I READ the script BEFORE I start to design anything). You only get one first impression. I take in the look and feel of it, the attitude and mood, and try to recognize any overarching themes or ideas the director is trying to convey. Only then do I start listening to sounds or ...
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.
For the sound of dog I actually normally just use a kind of heavy-duty gloves I've epoxy-glued paper-clips on. I was gonna try other things as well when it was still just gaffed on, like pieces of horn and different types of wood, but truth be told I found this configuration to be absolutely spot-on for what I needed instantly!
For the sense of weight, I've ...
Sounds like a fun challenge!
Flour is soft, not coarse like sugar. Maybe very soft, pillowy sounds would be good to add: Impacts into pillows, cloth hits, maybe even foley of things being dropped into talcum powder or flour itself (guaranteed to be messier than any liquid, though). Maybe even experiment with snow foley?
depends on what the moves are.
if they're of shuffling, dealing, etc you may want to bring someone in that's had a lot of experience doing those things. card moves can sound dramatically different in the hands of a pro vs in the hands of an amateur.
Business Cards? Post-It Notes? Credit/plastic cards? These are just some ideas, but it also depends upon the action required. Break away from the literal sound playing cards make and think of textures and frequency variances. All the above props offer different tonality, brittleness, frequency characteristics. It's the juxtaposing of various carefully-...
As for the horse, you can watch a top artist doing it here.
The dryer, why not record a real dryer drum. Just open one up and spin by hand. I've done this before. Sweeten it with the metal box idea. Usually the simplest idea is the best.
Laser beam...you should probably do something that no one suggests...that way it's original :) Old school method would ...
For Foley Usually LDCs (large diaphragm condensors) since of prime importance, they retain a lower noise floor. U87s are often used for this, sometimes with an MKH 416 or KM81/82 as a room mic. Octava makes a good LDC I've used, although I cannot recall the model number - it's cylinder-looking one. AT2035 would more in the bargain range.
For FX, it can ...
"It depends" <- everyone's favorite answer
On the films that have M&E deliverable requirements for foreign markets, basically everything's got to be covered by either cut FX or foley. It's often good practice to make sure everything is covered. That being said...depends on time. If the production is great for somebody struggling with a doorknob, ...
No one sound is going to do this, to get this right your effect is going to need to be a composite of several different layers. Your celery idea might form part of one layer, but is never going to do the whole job.
I'd be thinking:
Low ground rumble (sub)
Well they are harsh sounds...
First make sure that what you do as step number one is to control the source, change material (paper/board type, different pen or chalk etc) until you get a sound you really like.
Authenticity is rarely important, fake it!
Second, mic choice can go a long way, try a dynamic mic. Stay away from regular dialog/boom mics, use ...
To get rid of harshness at recording try the following:
Record with a distance. Rarely do we hear a paper get torn from a distance of 20-30 cm. More so 50cm+++
Go off axis. This will get rid of directional and thus high frequency material a bit.
Try DeEssers or Multiband Compressors to get rid of peaks in the 4000 and 8000 Hz region
Use dynamic mics instead ...
It depends. If I know for sure there are no way anyone would see me, and I'm in my own studio - tee and boxers. In extreme cases also a thick Palestinian scarf (textured with skulls and crossbones for that extra audio push!) covering my mouth and nose to further reduce the risk of accidental breaths or such.
But mostly I use a tee washed with a lot of ...
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.
You have some options. You can obviously burn a piece of paper, although that might pose a hazard if not contained. It's fairly simple to reproduce a sound like it, but not exactly like.
I would take some cellophane stretch wrap and twist/fold it around, but you could also use aluminum foil or some other thin material. I think the foil would sound too ...
"i'm afraid i could confuse a low amplitude region with an empty one"
Hiya, if you delete the "Audio Files" folder after spotting all offline clips will be greyed out. The recordings have a colour, so you will easily be able to tell what's a spot clip and what's a recording.
I'd say it will depend very much on the position of the camera (how close it was to the subject), and then you'll have other factors such as how reflective the room is and where the rest of the crew was standing in relation to the camera and subject. Was the camera recording using only the onboard microphone? There are a lot of questions that can lead you in ...
First off, I think it's cool they didn't just ask you to make it sound like Transformers! But I think it's a difficult task because the sound in the clip is very stylised and not actually in very tight sync to the action.
It feels like you hear more swooping/flying around and atmos than actual synchronised movement sounds, so perhaps part of the challenge ...
While everyone has provided some great answers so far regarding the recording of these harsh sounds, no one has mentioned another critical answer: Performance.
If you're scribbling with the fury of a 5 year-old with a new set of crayons you're going to get some harshness, regardless of how you mic it.
Foley indeed, but adding a few real pigeon/crow wings flapping away in there works quite well too, it adds that quick whooshy air sound between the flaps.
The thing to do would be quite obvious : If you're in a city, find a not too exposed park on a sunday morning (quiet background), bring some bread, feed the birds. And then run in the middle with your ...
Gloves, soft cover books (not pocket size) and umbrella work pretty well.
Umbrella is good for bigger single flaps and if you edit umbrella recording a bit you can create wingflap loops of bigger birds like eagle and such. Also a classic approach for bats and dragons.
Try some bigger soft cover books. For example the sound design book of Ric Viers works ...
Great ideas so far. Have a pair of real wings but also a real feather duster is great as well as leather or suede gloves (soft leather) I also use these for dog ears flapping. If the wings are really big, I take a thin shirt, put it on and pull it out with the mic underneath it and with the feather duster beat it against the shirt. works well.