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9

Designing an effective gun battle takes precision, patience, and lots of practice. I tend to approach them along these lines: cut all the on camera guns first. Cut them tight to the muzzle flashes and don't let them hang over the next cut (only the natural tail of the shot should hang over). next, cut the on camera impacts. The same rules apply, cutting ...


6

Getting a doorknob from a junkyard should do the trick. And, I like adding in a bit of spring-action to my guns, so I used a three-hole-punch with squeeky (not TOO squeeky) hinges with springs in them. I've also used large staplers opening and closing because they have a spring in them, too.


4

Sounds like fun. If you can get your hands on/rent a Nagra, the sound of overdriving the tape will bring something special to the party. It's a bit of a pain to set up and run, but it squashes the dynamics of a gun in a really nice/meaty way. Much like recording a drumset on a 2 inch Studer. I recently did a gun shoot and put an AKG D112 dynamic near the ...


4

As I recall, Richard King used lavs (or maybe contact mics?) mounted on the guns the get an interesting POV for Inception when recording with John Fasal and Eric Potter. Than again, they were recording more of the usual suspects (Glock, SIG-Sauer, Colt, etc) and it likely captured the mechanics of shell ejects. I personally haven't worked with/recording ...


3

Well, you can get the Boom Library's Designed Guns for $128, which is very reasonable. If you're looking to spend less than that, I'm afraid you may be sacrificing quality for expense. Try freesound.org, try recording your own gunshots, or try purchasing single gunshot sound effects from any of the various online libraries that offer single sound effect ...


3

As with many things in sound the answer to which is better is ... it depends on a few things which is the best to go for and which sounds best. First thing to consider is fire rates and frame rates and if you audio engine is frame rate dependent. Granular systems (e.g. 100ms sounds 6-7 variants played consecutively) this works well if the rpm of the gun is ...


3

I remember sitting in a talk at AES two years ago where someone was talking about the sound implementation for Halo (Reach I think). One particular example was for a vehicle mounted Gatling gun. There were multiple states that the game would switch to, depending on how the player used the gun: a bank of single shots, a bank of short to medium duration rapid ...


3

lavs are always fun, so i'll second that. I'd also try some pzm mics for low end and amb. Also, I'm very interested in seeing how ribbon mics fare in weaponfire situations. (its a common misconception that high spls damage ribbons - in fact its wind turbulence that does.) I think a nice ribbon blumeline setup could potentially yield some really nice stuff....


2

Maybe some binaural mics? Perhaps a pair in the ears of the armorer as they're firing like some DPA 4060's? ;)


2

You're approach sounds right for dealing with multiple guns - where it's more about the overall gestalt then hitting a rico for each and every shot (unless the shots are fired enough apart to really discern each individual shot). That's not to say you don't want to make it one event like Jay mentioned for eahc shot, because you should of course tie it all ...


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 ...


1

I tend to do a lot of gun sound design, here are some of my favorite gun reference films: Saving Private Ryan - Amaznigly detailed and stylized shots, bullet bys, and impacts Miami Vice (2006) - The guns just sound dirty to me, everything feels real, the shootout at the end is great, I epecially like how every gun has it's own sonic space True Lies - ...


1

What kind of fire arms are you looking for? Present day, historical, futuristic? For present day, a big film I go to is HEAT. The gun fight in that movie is one of the best I have seen/heard. A go to for sound design ideas. For over the top fun, "The Expendables has some really good bits too. For a historical movies, "Saving Private Ryan" and "A Band of ...


1

Did you try http://www.freesound.org/ ? Maybe you could find something useful there. Just check under what license people distribute their sounds.


1

I saw on your site that sounds are recorded at 44.1kHz 16 bits, most other libraries are in 96kHz 24 Bits... It's a huge difference when you are doing sound design, especially when you use pitch and time stretch effects.


1

Just a bunch of random weapon foley clicks and hits should do the trick. But I agree it is pretty important to know if its slow motion or regular speed. Regular speed you would probably only get a quarter of a second of time to work with if that. Slow motion would give you several seconds i'm assuming. It would be best to find that out before moving ...


1

Did it happen already? Sorry it took so long for me to see this question. I would experiment with stuff I've learned from recording snare drums for albums: Place a dynamic mic inside a styrofoam cup and record a round with it, see if it adds some brilliance in the early refs. (don't point it towards the bottom of the cup, cut out a hole and stick it ...


1

The few times I've done firearms/explosive recordings, I've found that having one omni-directional up somewhere really helps define the low-end and the tail-out. I've never used it the recordings from one standalone, but it's great to mix with recordings from the other mics. Automate a low pass filter so it's really restricted to low frequency content on the ...


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