Tag Archives: SoundDesign

Win 200+ High-Quality Sound FX Libraries

For all of you guys out there into post-production, Sonniss.com now have over $8000 worth of sound libraries to give away (204 in total containing nearly 200GB of files) – all royalty-free with commercial usage rights.

Image Source: http://bit.ly/1C9HUzu

Simply enter your details in the boxes provided and 2 lucky winners will be randomly selected in 27 days from now.

If you have any questions about this competition please email timothy@sonniss.com for more details.

You can check the sound libraries here.

You can check the competition here.

Good Luck!

Star Trek Vs Gravity Sound Design

While doing a bit of research for my report assignment on sound design, I stumbled upon how the sound design department is required to make choices either of artistic or scientific nature. This is often a dilemma in Sci-Fi films, where entire scenes are being supposingly shot in space. Space is Vacuum. Empty. No air, no nothing. Sound waves its impossible to travel without that mean. So,

NO SOUND IN SPACE!

Then, how come all those movies have laser blasts, explosions, spaceship noise audible on them? That’s because the artistic nature supersedes the scientific. It just sounds better and some times more realistic than reality itself!


The Sound of “Star Trek”

The “Star Trek” sound team including Supervising Sound Editor Mark Stoeckinger, Supervising Sound Editor Alan Rankin, Sound Designer Scott Gershin, Sound Designer Ann Scibelli, and Sound Designer Tim Walston talk about the approach and sound design behind the eleventh film based on the Star Trek franchise directed by J.J. Abrams.


How the sound masters of “Gravity” broke the rules to make noise in a vacuum

Sound designer Glenn Freemantle and re-recording mixer Skip Lievsay reveal the film’s sonic secrets. A film in which the audience would hear sound effects the same way the characters did. In space there’s no air to transmit vibrations, so that means total silence — unless you’re touching something and your body itself serves as the conduit.

Glenn Freemantle: It was at that point that we decided to do the sound design from the perspective of touch through vibration, and contact, in the whole film. Right from the beginning. We did that type of thing that you see right on that first little temp mix. Obviously we went and elaborated, and we shot loads and loads of stuff and you know, tried to refine the whole thing, but that was the beginning of the concept.

Source: theverge.com, vimeo, slate.comsoundworkscollection.com

Side Assignment

Alright. So, I have this module, it’s all about the internet and how to use it constructively in order to gain from it. Gain knowledge, gain connections, gain an online presence among peers and industry professionals. One of the assignments for the module is a 5000 word report (yes 5000 word, you heard me) that – wait for it – counts only for 50% of the module. I’m not going to complain any more, it is what it is. I had this idea, that since I’m interested in Post Production, I should like take this opportunity and learn more about past and current techniques. So I thought I should demonstrate the differences and the progression of sound design by comparing two films. Preferably remakes. Such as King Kong (1933) and King Kong (2005) or maybe even Tron (1982) and Tron (2010). I should like do some search online, find out how they manage to create all those magnificent (for that past era) sound effects etc.

Tron Trailer 1982

King Kong Trailer 1933

Pretty cool ha?