February 19, by Roberto Cuartas. Have you ever wondered what it takes to craft a compelling sound? What techniques and technologies behind sound have been used for sound professionals to hit the spotlight and be recognized by the industry? Now that The Oscars are around the corner, a lot of conversations start to arise, especially about the nominees.
Steve Morrow, who later offered some behind-the-scenes insights at recording Lady Gaga and Bradley Cooper, was responsible alongside Tom Ozanich, Dean Zupancic, Jason Ruder for this part of the audio post-production process. The sound mixing crew asserted later on that the idea was to film three songs, but given those circumstances, they decided to play 30 seconds of each of those songs.
As for the sound mixing process, Morrow also mentioned that the idea at the very beginning of the process was to capture all sounds live, all the performances, all the singing, etc. Want to save money on sound effects? Posted February 4, by Asbjoern Andersen in Film sound. Want to know more about the sound? Check out this featurette below:. Want to know even more about the sound? Read more here.
Jul 30, This artist's concept shows how sound waves travel through a hypothetical star that has an orbiting planet. Credits: Gabriel Pérez Díaz, Instituto. Aug 28, Observing a star up close (putting aside for a moment how you'd get there or A supernova would sound like 10 octillion two-megaton nuclear.
And finally, if you want to watch the official trailer for the film, here it is:. While straying through several antiques shops and flea markets I unveiled a lot of very interesting and organic sounds with character. Sounds that only prop up with plenty years of service can do. So this library is a versatile and composite collection of all those squeaky, creaky, rusty sounds with a lot of personality.
From mechanical cameras and rusty coffee mills, over-jammed drawers, doors and locks, to sewing machines, typewriters and malfunctioning projectors. All painstakingly edited, cleaned and decently named for you. All sounds come with embedded Metadata. Pro Sound Collection is the highest quality and most affordable sound library you will find.
This is the perfect collection of sounds for all types of sound designers, game developers and video editors who need a large range of high quality sound effects ready to use. Designed specifically for games, film and other media by award winning sound designers. ALL our other other sound libraries plus other sounds have been packed into in this amazing sound collection.
What if we'll take a shortwave radio receiver and turn its output into to a variety of sound effects?
The result will be not only be a set of dark, dirty, noisy and distorted effects, but also subtle, deep atmospheres and even some kind of melodic sounds! Here you'll find distant radio transmissions, strange modulated voices, whine and static, but also designed atmospheres that can be used as interiors of spaceships, machinery or computer rooms, whooshes, passbys, textures, transformations, alien voices, stutters, morphing effects, granular clouds, risers, UI, impacts and much more that you may need when working with trailers, music, game sound or movies.
But that's not all, as it turned out it's even possible to make melodic sounds out of these noisy soundscapes!
In this minutes long sound library without RAW files you will find 16 designed and 32 raw engine sounds recorded onboard, 26 pass by and engine exterior sounds, 17 foley files and 9 engine interior recorded inside vehicles cabin in sync with microphones under the hood. Foley was captured with mono Rode NTG3 microphone. Engine sound effects were recorded with two DPA omni microphones.
Car was recorded during regular driving, accelerating, decelerating and more demanding way of driving with steady RPMs and RPM ramps. Phil Lee mix technician. Jean-Charles Liozu re-recording mixer. Michael Minkler additional re-recording mixer.
Steven Morrow sound mixer as Steve Morrow. Ryan Murphy re-recording engineer. Alan Robert Murray supervising sound editor. Dan O'Connell foley artist. Thomas J.
O'Connell adr mixer. Willard Overstreet foley editor.
Tom Ozanich re-recording mixer. Michelle Pazer dialogue editor. Tony Pilkington re-recording engineer.
Mark Purcell mix technician. Jason Ruder re-recording mixer. Curt Schulkey dialogue editor.