Appendix 7; Time Constraints

When creating audio for movies there is usually a long time until the deadline. This is because a film takes years to film and produce whereas we were only given a time constraint of about 2- 3 months. Ben Burtt said he worked on the WALL-E sounds for "9 months out of the year"  You can find the rest of this interview here; http://designingsound.org/2009/09/ben-burtt-special-wall-e-the-definitive-interview/

Appendix 6; Discordant Nosies

The discordant noises that I've created are a prime example of classic horror noises. The original Alien trailer is a great example of this as the entire trailer uses lots of varying noises which are all discordant. This trailer is a prime example of great use with discordant noises creating a great atmosphere. This is something that I achieved with my second horror sound.

Appendix 5; Horror Ambience

As you can see from this trailer, they use a bassy build up with some weird noises that really creep the viewer out, suddenly you hear a huge bang which syncs with the video. This is classic horror and can be found in almost every recent horror film.
Start the video at 2:09 to hear a good example.

I feel as if my horror sounds lack bass compared to this example. It would of been better to use a trailer like this as reference material and bass some of my sounds off the trailer.

Appendix 4; Scale

When creating sounds for something huge, we want to add lots of bass. This is something that is almost common knowledge as we're exposed to it in movies so often. As you can clearly see in the youtube video the transformers are huge and to empathise the scale lots of bass is added, this is something I wanted to replicate with my jet engine.

Appendix 3; Performance

One of the problems with my helicopter was that it took a lot of cutting and sampling in order to get the whooshes in time with my helicopter sound. The whooshes were created by using an AKG C414XLS recording at 96khz and one person spinning a tube to create a wind swooshing type effect. The way this could of easily be fixed is to perform the whooshes, Ben Burt talks about this when he created the famous lightsaber sound.

Below is a picture of how much work was done to sync the recorded sound to my helicopter sound.

Appendix 2; Resampling

                                                                   Appendix 2

As you can see by the two audio files the layering really helps to add a punch to the sound and also overall just made it sound more usable.

   

Appendix 1; Laser Gun Creation

Appendix 1

As you can see the actual layering of this sound was very complex but every layer helps to make the sound what it is. The kick sample was used to add bass to each shot of the laser, this is something that was suggested during peer feed back. As you can see from the photo below, lots of peer feedback which was conducted during lesson time. These small pieces of advise really helped me shape the sound