We are so proud of our clients who have been nominated for a GLAAD Award! The GLAAD Media Awards is the most visible annual LGBTQ awards show in the world, sending powerful messages of acceptance to audiences globally.
Viewing entries in
Inside Sound Design
We are honored to have been nominated for one Golden Reel Awards for 2023!
Transformers: Earthspark: “Security Protocols”"
OUTSTANDING ACHIEVEMENT IN SOUND EDITING – BROADCAST ANIMATION
I’ve recently been messing around with Soundweaver from Boom Library and I couldn’t wait to share my thoughts with our readers.
We are honored to have been nominated for three Children’s and Family Emmy Awards for 2023!
“Rise of the Teenage Mutant Ninja Turtles: The Movie”
Sound Mixing and Sound Editing For An Animated Program
“Santiago of the Seas”
Sound Mixing and Sound Editing For A Preschool Animated Program
“Waffles + Mochi’s Restaurant”
Sound Mixing and Sound Editing For A Live Action Program
Foley is a crucial element in the world of filmmaking and audio production. It refers to the art of creating and recording sound effects to synchronize with the visual elements of a film or other visual media. The history of Foley can be traced back to the early days of cinema, and it has since evolved into a specialized and essential field within the film and television industry.
Jayson Niner recently moved from his position as assistant sound editor to editor here at Boom Box Post. We sat down with Jayson to get his thoughts on his new position, and if he has any advice to offer.
Did you enjoy What’s That Sound part 1, 2, and 3? Let’s see if you can guess what sounds we have come up with this time! Listen carefully!
Dialogue editing is an essential part of the post-production process for animated TV shows, and one we take very seriously at Boom Box Post! Clear, crisp, organized, and coherent dialogue is the bedrock of any TV show. Meticulously shaping, enhancing, and cleaning up the voice performances does wonders to breathe life into the characters as well as streamline the mixing process.
Knowing your SFX library is essential to becoming an efficient SFX editor. However, it can be quite daunting at first as there are so many different types of sound for the same object. Knowing how to read and use your SFX library to its fullest potential will greatly increase the creativity and ways to use those sounds. Our SFX Editor, Katie Jackson, sat down to teach the tips and tricks to making the most out of your SFX library.
I’ve had it on my list to test out some software synths that I had purchased a while back. My week was light so I fired up The Riser by AIR. One of the presets had a really interesting oscillating sound and the functionality of The Riser made it easy for me to play around with pitch and speed. I found myself creating crazy spaceship engine sounds (very likely influenced by having just watched the movie) and thought, “this would be a great blog post!'‘
Creating futuristic anything is fun, but where to start? Here was my process for creating a full compliment of entirely original (and useful!) futuristic spacecraft engine sounds.
I am currently knee-deep into recording an extremely comprehensive auxiliary percussion library for Boomboxlibrary.com. The idea is to produce pristine recordings which we (and other sound editors) can use as source material for new creative sound design.
As the recordings pile up (and I procrastinate having to edit them all) I have been playing around with some of them, just to see if my hunch was correct; that these would help me create great cartoon sound effects that are high quality and new but harken back to the classic Hanna Barbera sounds we all know so well.
We are honored to have been nominated for two Motion Picture Sound Editors 2023 Golden Reel awards!
“Rise of the Teenage Mutant Ninja Turtles: The Movie”
Outstanding Achievement in Sound Editing – Non-theatrical Animation
“Transformers Earthspark” -
Outstanding Achievement in Sound Editing – Broadcast Animation
We thought this would be a great opportunity to share some stories behind the sound editorial on these two fantastic projects via interviews with Supervising Sound Editors Jeff Shiffman and Brad Meyer.
Weaponiser, a plugin from Krotos, was created to assist in the building of gunshot effects, but with a better understanding of how to use it, Weaponiser can be beneficial to all kinds of builds from customizing a one time effect to providing slight alterations to repeated sound events. Using Weaponiser you can even quickly build a multi character Foley Libraries!
Recently we published a blog that listed classic toon sound effects and the emotion they convey to the audience. Our hope was that it would be a helpful tool for anyone stuck in the editorial process. This is part 2! Continue reading to find out how our editors approach the following emotions with classic toon sound effects: Scared, Disgust, Love, and Bored.
We recently finished construction on our brand new post sound facility in Burbank, CA. One of our top priorities was to have multiple mix stages under our roof, all of which ready for Dolby Atmos. The way we saw it, we might as well be on the forefront of this emerging format. Building a mix stage is challenging enough, but adding in the extra Atmos considerations meant we would be faced with lots of opportunities to learn. Lucky for us, we are all about continuing to learn here at Boom Box Post! It’s in that spirit that I want to share with you some of the details of our journey.
Katie was given the fun yet challenging task of creating a roller coaster only consisting of materials that could be found thousands of years ago. Find out how she tackled this project and what issues she faced.
Recently, Peter was tasked with creating the sound build for a time machine as it creates and travels through a time portal. Find out how he managed to achieve the desired effect while putting his own personal style into the sound.
Tim was recently challenged with designing ambiences for a series of shorts that had a lot of action. The clients very smartly requested these builds have a rhythmic quality to them, allowing them to play in the background without distracting too much from what was happening on-screen. Check out how this was accomplished!
Comedy is alive and well in both live action and animation. And as any sound designer worth their salt knows, our job is to support the script which often means supporting comedy. The best sound design can highlight what is already great about the picture and elevate it further by helping the audience to focus on it. So, how do we support a funny moment without dipping into our toony toolbox?