This past fall, I took part in a panel put together by Soundgirls, and hosted by Sony Studios, called Career Paths in Film and TV Sound. This was a kickass panel with audio professionals from all different backgrounds, with all different backstories and insights, who are at the top of their game. And our careers are just getting started. We talked about what drew us to the sound profession in the first place. We talked about working our way up with unerring drive and determination from the machine room, the tape vault, the intern desk. We talked about staying all night to observe mixers and read manuals. This was a panel about tenacity. And it just happened to be led by women.
Viewing entries tagged
sound for television
I often times need to pitch dialogue on the mix stage. For this week’s blog post, I wanted to pit a few built in Pro Tools pitching plugins as well as some affordable alternatives against one another. Is there a one size fits all option for pitching? Do some plugins work better in certain situations than others? I’m not ashamed to say I had never taken the time to do a comprehensive head to head test until now. The results were very surprising.
We've been lucky enough here at Boom Box Post to be working on a lot of new series lately. And with new series, come main title sequences. The goal of any great main title is to stick in your head, typically achieved by a catchy, music-driven sequence. So where does that leave us sound designers? Sound effects can be infectious too! Here are some tips to help you succeed in getting sound effects into the next great main title sequence.