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6

I'm probably one of the best people to answer this since I did the editorial prep for the trailer, and worked on the feature. (Zack has had us, the feature crew, involved in his trailers since 300. As was mentioned, more typically, feature crews aren't involved in trailers.) Zod's dialog was taken directly from the feature dialog stem. In the film, Zod is ...


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Hey James, Cool stuff, the effects are organic and blend well with each other. I will say, though, that the trailer is extremely ambiguous... without the title of the game at the end I would have absolutely no idea what I was watching. So while one of my critiques was a lack of identity for the sound design, I realize that much of that is due to what's ...


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I asked Ben Minto and his anser was: fast edits and filter - keeping it old school and doing it manually 😃 will double check though - that was done 18 months or more ago.


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It sounds like some form of subtractive noise synthesis with a stutter effect applied. This could be done by applying a LFO shaped as a square wave to the volume of the synth, and then automating the speed of the LFO. There are also filter sweeps happening underneath. Cheers, ~Matt


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i had to do a similar thing whilst in University. The best advice i can give you is to listen critically to what you are trying to recreate. Try and work out how these sounds are achieved, and what they could be obtained from. Then experiment recording different mechanical and electrical sounds; printers, windows, microwaves, oven doors slamming literally ...


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Interesting question and keen observation. I wonder if it could be an issue with the upload/conversion to YouTube format. Also, totally off-topic observation, but I just love that synth (40 seconds in) in the music from that trailer.


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The harshness of the compression is similar to API's boxes. It might be one, although I never can remember the number of model. The cool "damaged" sound are most certainly an artifact from (very likely Cedar) noise-reduction, EQ, and probably a mild distorsion to make it pop in the trailer. It's pretty safe to say it will sound different in the final film. ...


2

Unfortunately, music can be very unforgiving when it comes to cutting/splicing... Avoid cutting in the middle of a musical phrase. There are some exceptions, but generally, the only way to make this work is to use the second half from an identical-ish phrase. Make sure your splices don't break the tempo. The human brain is very adept at recognizing patterns,...


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You could try to add FX like an explosion or swoosh when changing from 1 scene to another one. This will mask the transition thus making it less obvious to hear.


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If you're a Sound Designer of a movie, do you have total supervision over what the trailer sounds like?


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Hi there, Another good link on how they got some of the sounds for the film is: http://www.soundworkscollection.com/news/why-the-iron-man-3-sound-department-went-to-toys-r-us Quite an interesting article on how they got the sounds for the characters. Good luck


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I'm going to defer to Tim Prebble's answer here: Jurassic Park - Classic Roar Especially so because you mention that this is homework. Good luck!


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hmm, sounds like some sort of static, with lfo on LP filter(lfo rate modulated too), maybe a little bit of doppeler. imo innitial sound is some basic noisy synth patch(it could be even basic subtractive synth) or static noise. edit: low pass filtering doesn't work for noise oscillators as i would thought, but small short notes of just noise osc and a little ...


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"The base of the sound is a recording of an old radio scanning through frequencies. So mostly noise and static but with inherent movement. This is treated with distortion, filtersweeps (FilterFreak LPF) and an aggressive stutter effect (SoundToys Tremolator) with the tempo automated over time."


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I think it could be any number of things, perhaps it's designed using recordings and not synthesis at all. As the other answers have mentioned there's some heavy amplitude modulation present and this contributes a great deal to the character of the sound. Recording a few minutes of de-tuning a radio or other glitch source and playing around with LFO rate AM ...


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