One of the most challenging sequences a sound editor can face is a car chase. Vehicles are tough. Even the most experienced designer can hit a wall when trying to make them work. This is by no means a complete guide, however, this primer should prove helpful for those looking to dip their toes into the wild world of vehicle sound editorial.
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Sound effects editor Brad Meyer is always designing amazing effects with unique builds and altering plugins. This week, well chat with him about a steady and pass by effect he created for a super fast running animal.
Dynamics processing is valuable for many kinds of audio work. Compressors, Limiters and Transient Shapers have become so ubiquitous that you would struggle to find a piece of recorded music, film or television show where one of these tools was not used. These processes have applications for the sound editor as well, allowing you to control dynamics in your own recorded sound effects or beef up a key element in a build for a big moment. In this basic overview, I’m going to talk about a specific plug-in for the three types of processing mentioned above, but the principles discussed here can apply to any manufacturer’s software, or even hardware tools.
The SiFi genre offers up so much creativity from a visual aspect but also opens up a lot of potential for cool sound design. This week, we will chat with sound editor Tess Fournier about a futuristic disintegration design she created.
An essential tool for editorial and sound design, in my opinion, is a graphic pitch and time shifting plugin. Waves SoundShifter Graphic audio suite plugin allows you to load the waveform of a clip you have selected and simultaneously manipulate pitch and time in whatever way you so choose by placing points along the linear graph. This can be very useful for a multitude of applications. I personally tend to use it most to accelerate and decelerate vehicle steadies, easily create variation in sounds that will be repeated without them sounding so repetitive, create movement and fluctuation, or even get wild sometimes and make something more abstract.
This month, I wanted to continue challenging our interns to improve their recording skills and get creative so I devised a recording assignment that would require them to think outside the studio! Each intern selected 2 sound effects from a list of easy to record materials(basic foley props, things around the office) and 2 from a list of harder to record sounds(nature ambience, elevator doors, quiet sounds, etc). Colin and Dilery both did an awesome job, so lets hear about their results!
Timeflux is a specialized sound design synthesizer that runs standalone. The program focuses on stretching, morphing and processing spectral effects for sound design. Similar to most specialized software, you really have to play and experiment with it to really understand to program; TimeFlux is no different. To better understand this program, I asked my colleagues for the favorite hard sound effect and see what I could create.
For this month's Inside Sound Design post I met with Brad Meyer again, to talk more about the exciting vehicle sound effects he creates.. Brad spends a lot of his time designing exciting, signature sound effects for his shows, especially vehicles, using both custom recordings and sound library material. This time we talked about a unique semi-truck vehicle, and it’s exciting transformation sequence.
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.