Our interns have hit the ground running recording sound effects and learning from our editors here at Boom Box Post. Last week we chatted with Dilery Corona so this week we sat down with Colin Grant to learn more about him and what he is excited about.
At Boom Box Post, we enjoy creating a fun and educational internship program to gain experience in the industry. Through the weeks, Interns will learn from audio editors and mixers, record fun sound effects, and work on projects to showcase their amazing talents.This week, Colin Grant & Dilery Corona have begun their journey here at Boom Box Post so I sat down with Dilery to learn more about her background and what she hopes to learn from the internship.
Few things can positively impact a sound editors workflow like effective and thorough sound effects metadata. Having good metadata in your library will lessen the time needed to find the sounds you are looking for and speed up the process of finding new favorites in a packed library. If you are selling your sound effects, having rock-solid metadata is essential to creating a marketable product.
It's been another busy year here at Boom Box Post!
In February of 2017 we were honored to take home a Golden Reel award for Best Sound and Music Editing for Television Animation for Nickelodeons Animated Television Feature: Albert.
Throughout the year we were excited to share some stellar blog posts such as Top 5 Tips for Recording Sound Effects Like a Pro, 3 Easy Steps to Cutting Classic Cartoon Sound Effects, 5 Characteristics of the Rock Star Sound Editor, and many more, which you can read on our Blog.
We worked on 13 discreet animated series, including Mickey and the Roadster Racers, The Loud House, Penn Zero: Part Time Hero, Danger and Eggs, Future-Worm!, Teenage Mutant Ninja Turtles, Duck Tales, The Lion Guard, Stretch Armstrong, Pickle & Peanut and more!
Thanks to everyone who has been involved in Boom Box Post in 2017, and here's to another exciting year!
Today is the last day to get the sound design toolkit for FREE!
Are you interested in our sound design toolkits, but aren't sure what they are? Check out this great video demo, Getting Creative with Your Sound Design Toolkit!
Don't forget that from now until 12/25, the sound design toolkit is FREE with your purchase of the Heads Up Display SFX library! That's $20 off! Don't miss out.
Introducing the robots of our Robotic Creations Collection!
Each library within the Robotic Creations Collection contains sound effects designed to match five different robotic personalities with their own unique sonic characteristics.
Our Boom Box Library online store is open!
Boom Box Library proudly presents its first release of the Robotic Creations Collection: The Heads Up Display SFX Library & Sound Design Toolkit!
Go behind the scenes of the Mutant Apocalypse arc of Nickelodeon’s CG Animated Teenage Mutant Ninja Turtles series with this story of how Boom Box Post created the sound of the post apocalyptic Shellraiser vehicle by custom recording Executive Producer Ciro Nieli’s vintage Mustang.
We have a big announcement to make: we are branching out from our post production sound business, Boom Box Post, and have created our own sound effects library company, Boom Box Library. This has been a long-time dream of ours, and we are immensely excited to finally see it making its debut in the coming weeks.
In this Inside Sound Design I wanted to use our interns to explore an early part of the sound editing process: Field Recording. It’s always a blast to capture sounds in the wild, and we try to do so at every opportunity. I sent Ian Howard out with instructions to research and capture two unique and interesting ambiences.
We’ve reached out to our blog readership several times to ask for blog post suggestions. And surprisingly, this blog suggestions has come up every single time. It seems that there’s a lot of confusion about who should be processing what. So, I’m going to attempt to break it down for you. Keep in mind that these are my thoughts on the subject as someone with 12 years of experience as a sound effects editor and supervising sound editor. In writing this, I'm hoping to clarify the general though process behind making the distinction between who should process what. However, if you ever have a specific question on this topic, I would highly encourage you to reach out to your mixer.