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5

After a 3 year hiatus I return with an answer that I hope doesn't get torn to shreds by newer members here: I'm going to start out with a more general answer: NOTHING done as a corrective measure (ADR, 'fixing in post', etc.) is necessary to do on a film set if it is properly planned for and solutions are brought to the table well enough and early enough in ...


4

You can't do that. It would be akin to ripping the T-rex roar out of Jurassic Park and calling it your own. The sound from the movie you're referencing is part of the soundtrack of the film, which is the legal property of whichever studios and production companies financed it. If you can't create the sound you desire on your own, then you need to hire a ...


4

AS to source material: As of 2009, the most common acquisition medium for digitally projected features is 35 mm film scanned and processed at 2K (2048×1080) or 4K (4096×2160) via digital intermediate. Most digital features to date have been shot at 1920×1080 HD resolution using cameras such as the Sony CineAlta, Panavision Genesis, or Thomson ...


4

If it's public domain then yes it would be ok, but I wouldn't trust copyright information people add as Youtube descriptions. There are some public domain video archives that might have the kind of material you are describing. At least Prelinger archive material is public domain and legal to use any way you wish. https://archive.org/details/prelinger


3

It happens all the time. We also contact friends and peers who might have the sounds we need, and trade effects back and forth (which is a great way to expand your library). Everything in audio post is predicated on budget, time and need. We'd all love to record or synthesize brand new sounds for every element needed in a film, but that's just not a ...


3

As said above, you want to calibrate your playback environment first. Than, in my experience, with dialogue you want to be hitting equal to about -27 DB LEQ(a) up the center channel, usually measured on a stage with a Dolby LM100. That usually results in your dialogue average meter sitting around -16 dB to -12dB with peaks hitting around -6dB, maybe as hot ...


3

Highly relevant, you will enjoy digesting the many examples in here: http://tvtropes.org/pmwiki/pmwiki.php/Main/ShellShockSilence Mass Effect games also have this effect when you're "low health", a low-pass filter blurs the music until you recover:


3

A show usually has a leader reference tone and also has pops, known as sync pops or head pops (versus tail pops) or casually just called "2 pop". The reference tone is in regard to calibration level, the 2 pop is (secondarily for calibration) but primarily for ensuring sync - especially when we';re talking about ProTools sessions containing the ...


3

Kevin, Check out this video on calibrating your studio speakers to a standard monitoring level: http://vimeo.com/22735507 Calibrate to 79dB for a home studio. If you don't have an SPL meter, you can download one on a smartphone and it will do just fine. It's might be a bit louder than you're used to. Once you're all calibrated, watch a film or show that ...


2

Hi Kevin, In general movie soundtracks are not mixed to specific dB levels. Mixers mostly trust their ears and therefore they need a calibrated room. Where are you going to work on the levels of the soundtrack. Do you have access to a Dolby Mix facility? You could rent one, with assistance, and this should allow you to get the levels right in the mix. ...


2

This is absolutely NOT OK. The soundtrack is part of a copyright protected film. You are, however, making an excellent case to hire a Sound Designer. This is what we do (and its what you need). We rarely just put a stock sound effect in for something like this. We manipulate and process multiple sounds to achieve something that will create (hyper)realism ...


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

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

The beach scene in Saving Private Ryan. Check it out at 4:35.


2

There's no set way of making these sounds, the first one sounds like lighting/electricity mixed with some sort of computer generated sound from a synth. Second one is something being pitched down again, maybe a synth. Third one, sounds like an explosion and again, mixed with a digital sound. Of course, this is just my opinion and I could be completely ...


2

This is not a field I work in, though I am a [retired] sound engineer & currently work in the TV/film industry, so it's one where I watch & listen to the results of other people's work a lot, therefore this is going to be 'opinion with a good deal of thought behind it'. Leave it in the centre. Really, unless you are trying to indicate that someone ...


1

From what I remember from the movies, I think the sounds are more composed of electric-arc(ish) type sounds and whatever sound helps to distinguish the wands or wizards from each other; some wands are more shrilling then others, and some sound more windy, etc...


1

This is a "sound design" forum. You are asking a LEGAL question. Copyright law is a specialized field and it seems quite possible that there is no appropriate StackExchange forum for this question. As a general rule, however, using sound or image from another production is almost NEVER something that a competent attorney would recommend. Even if you ...


1

The actors recorded their lines then reversed them, then learned the backwards version.


1

=> Metering levels for sound effects and => Normalizing Your Final Mix?


1

Hola Marcos!!! es bueno saber que tambien hay mas mexicanos que comparten el gusto por el diseno en audio. Al igual que tu yo estaba buscando escuelas que impartieran algo relacionado con diseno en audio y lo mismo trate en VFS pero es extremadamente caro pero su bolsa de trabajo es increible y es lo que vale la pena. Creo que la mejor escuela y el mejor ...


1

Vancouver Film School has an incredible program, but is also extremely expensive. Keep your eye out for scholarships/contests, etc.


1

The Sennheiser HD 280 Pro is a pretty good set of headphones--in particular it has a pretty flat midrange response, which is helpful for mixing. Drawbacks: a little hyped in the bass and high treble. Offers good isolation from outside sounds if you need that. The Sony MDR 7506 (or V6, which is an earlier version) sounds different but not necessarily ...


1

The other major competitor in that price range is the Sony MDR-7506/V6. These are pretty standard issue for editors, but as for your uses I dunno if they will be 'better' than HD280s. If you want to jump up in price and quality, this link has pretty much all the info: http://www.head-fi.org/t/634201/battle-of-the-flagships-50-headphones-compared


1

Hi Greg Stereo sound like we know from music was never used in cinema. There are lots of article if you search in books or google, I can explain you the main facts: In the past, the first audio format was mono with one speaker in the middle of the screen. This format is still the most important channel if you imagine the situation of a cinema. Wherever you ...


1

This actually existed for a couple years when this question was asked: https://video.stackexchange.com/ Enjoy!


1

I don't have an Mbox Pro myself, but I have successfully played back 5.1 sound from a variety of movies through several multi-channel audio interfaces. The trick is to configure which output of the audio interface represents which surround channel. You do this by opening 'Audio Midi Setup' (it's in Applications>Utilities), and then, in the audio window, hit ...


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