Designing Sound chats with Toy Story 3′s Tom Myers (Sound Designer/Re-Recording Mixer), Michael Semanick (Re-Recording Mixer) and Al Nelson (Sound Editor) on their work on Toy Story 3. It’s a great interview in which you’ll read them discuss how they handled POV sequences and having to recreate an old futz box to simulate the previous films futzed dialog tracks. Hit the jump for the source link.
Monthly Archive: June 2010
Sit down with VBS.tv as they talk with Reed Ghazala, the creator of circuit bending. Along with hearing how Ghazala created circuit bending you’ll get to see him create one while sitting around in his secret lab wearing hospital scrubs. Check it out after the jump. It’s quite entertaining.
There’s a pretty cool frequency chart posted up at IndependentRecording.net. It show a lot of the fundamental frequencies for various instruments and the human voice. It also gives you information on what frequencies for the sound will be to harsh or vice versa, pleasant. Click through for the link.
“One of the tasks of the sound team was to create the aural presence for a dark spirit that enters a variety of everyday objects. In some instances, Rankin and Beaumont used samples of their own voices to conjure the evil spirits. “The dark presence can possess anything—bulldozers, refrigerators, a chandelier—they’re poltergeists that come in small, medium and large sizes, and they’re all creepy in their own special way,” Beaumont says. “From there, we progressed to possessed birds and a crazy, chainsaw-wielding lumberjack.”
View Disney’s audio post production history starting back before the 1940′s up until now. You’ll learn about Walt Disney’s idea to place surround speakers in a room and coin it “fanta-sound” as well as that the mixers love to play some quick pickup games of basketball in between automation runs…just kidding. But hit the jump for the great SoundWorks video.
John Debney, most recently known for his composition of Iron Man II sits down and chats with Film Sound Magazine about his work on the upcoming Robert Rodriguez film, Predators. He talks about his fan-boyism for the films and how work on this project varied from that of Iron Man II. He also briefly goes into Rage Against The Machine guitarist, Tom Morello’s involvement. Hit the jump for the audio clip and source link.
“3 extraordinary days of music… plus exhibitions, installations, films, workshops, and discussions… celebrating the spirit and expansive vision of Bob Moog.
“Using an overhead projector, camera, and max/msp I’m in the process of making a sort of player piano/color translator. The program reads 8 different “lanes” of the video (one for each note) and it only triggers at the lower half. Each color gets a different timbre and the scale set for this particular video is just some big chord.”