Game Videos goes behind the scenes on the making of the score for Rockstar’s Red Dead Redemption:
(via @nobuooo)
Game Videos goes behind the scenes on the making of the score for Rockstar’s Red Dead Redemption:
(via @nobuooo)
Sound designer Jim Stout takes a look at how to create classic video game sounds:
For more on Jim Stout, check out this post over at Designing Sound.
Michael Coleman over at the Soundworks Collection delivers yet another great feature on film sound – this time around, on the audio for Christopher Nolan’s Inception. It features supervising sound editor and sound designer Richard King, re-recording Mixer Lora Hirschberg, and re-recording mixer Gary Rizzo.
Daniel Schweiger over at Film Music Magazine has a great, in-depth audio interview up with composer Hans Zimmer, on his score for Christopher Nolan’s ‘Inception’.
It’s a composer’s job to unlock the imagination of their directors, translating their flights of fantasy into melody. Few musical dreamweavers have shown as much imaginative dexterity in that regard as Hans Zimmer. Yet even fewer directors have given Zimmer a true match for his talent like Christopher Nolan, whose enigmatic oeuvre consists of such head scratchers as “Memento,” “Insomnia” and “The Prestige,” not to mention two movies featuring The Dark Knight, whose imposing bleakness was abetted by the anti-hero rhythms of Zimmer and James Newton Howard.
If hearing Nolan’s imagination was a tough nut for Zimmer to crack before, then his new film “Inception” takes the filmmaker’s intellectual bent to spectacularly inscrutable heights. It’s a brain-bending, sci-fi tinted mix of “Mission Impossible,” impeccably dressed James Bond action and enough meditations on the nature of humanity and dreams to make Carlos Castaneda scratch his head. Providing a thematic through line to “Inception”‘s multiple, and insanely complicated plains of dream action is an equally surreal, and beautifully thrilling score by Hans Zimmer.
Hear the interview below, or hop on over to the original post here.
Interview with Hans Zimmer on the music for ‘Inception’
I live inside the sequencing environment most of the time, but there are of course times where I have to venture out of the world of plugins, synths and samples and do other stuff to keep the studio and business running. Here are some of my favourite tools for doing just that:
Simplyfile – a brilliant tool for organizing your Outlook inbox.
I get quite a lot of email every day, relating to many different projects – and keeping organized is thus pretty important to avoiding the dreaded inbox overload. SimplyFile helps you stay on top of the email barrage by letting you easily file emails into their appropriate folders, and makes navigating Outlook a breeze as well, all using keyboard shortcuts.
The latest version even adds batch processing to make it even easier to regain control of large inboxes. It tracks your filing habits and is actually quite good at making sensible suggestions as to where a particular email should be filed.
It’s a real time-saver, works much better than a rules-based approach (at least for me), and it’s turned out to be one of my favourite Outlook tools.
So if you ever feel that your inbox is getting the better of you, or if you’re juggling many projects at once, I’d really encourage you to take this for a spin!
Xobni – keep up with your contacts, right in Outlook.
Xobni offers a great way of integrating your LinkedIn, Facebook and Twitter accounts into Outlook, and also provides threaded messages, easy access to attachments and links exchanged, contact details and pictures, and more.
Very handy – and maybe I’m easily impressed, but it still gets me when I get an email from someone I haven’t communicated with before, and it automatically pulls up the photo of him or her from LinkedIn or Facebook.
Total Commander – makes managing your files a breeze.
When I started out using PCs ages ago, the fabled Norton Commander was the go-to tool for file management, and Total Commander works in much the same way. With its two-pane file window approach, numerous handy keyboard shortcuts and customizations, FTP support and lightweight operation, it’s pretty much a Swiss army knife when it comes to file management.
OneNote – Keep your notes and screen captures organized.
One of the more overlooked programs in the Office suite is Microsoft’s OneNote. With a flexible layout for organizing and searching your notes, a great type-anywhere-on-the-page approach and support for easy screen captures, it’s incredibly handy for keeping track of your meeting notes, to-do’s and basically anything you want to jot down and actually be able to find again.
As I understand it, EverNote does pretty much the same thing, but I haven’t gotten around to trying that yet – and for me, OneNote gets the job done.
NOD32 – a lightweight, non-intrusive antivirus solution.
Since my main sequencing machine is also used for online activities such as email, web browsing and collaboration, staying secure is obviously a pretty sensible thing to do. I’ve found NOD32 to be a no-hassle solution that doesn’t affect performance in a noticeable way.
F:Lux – avoid eye-strain on those long work sessions.
This is a tool I came across recently and I’ve really grown to like it. It basically adjusts the color settings on your display according to the time of day. Everything gets a somewhat more subdued glow to it in the evening, and if you – like me – spend long days (and nights) working on the computer, this can be quite a relief for your eyes.
It takes a bit of getting used to and you may need to adjust the colour levels to your taste, but after a while, your eyes will thank you for it. Just don’t use it when doing any kind of graphics work where colour accuracy is important (that would be any kind of graphics work, I guess
)
John Walker over at Rock, Paper, Shotgun has a great feature on voice direction for games:
A few months back for PC Gamer I investigated voice direction by speaking to those who get it right. I spoke to LucasArts’ David Collins, responsible for directing Monkey Island, FunCom’s Ragnar Tørnquist about creating April Ryan and casting The Secret World, and 2K voice director Jack Scalici who is responsible for the enormous voice cast of Mafia II. I also spoke to two of the most respected voice actors. Dominic Armato is the voice of Guybrush Threepwood, and Sarah Hamilton plays April Ryan in the Longest Journey games. Below they discuss the craft, and express their passions and frustrations about voice acting and directing.
Read the excellent feature here.
(via The Voiceover Boblog)
GameSpot takes an interesting look behind the scenes on the score for Star Wars: The Old Republic – have a peek:
Miguel Isaza over at Designing Sound has a brilliant exclusive interview up with Ann Scibelli, Sound Designer on Ridley Scott’s “Robin Hood”:
ANN: I started working on the film in its early stages, really as soon as they began assembling the first cut. As far as doing something sonically different, I think all the medieval films have the same elements really, like: horses, swords, and other weapons. I wanted this film to have a very accurate feel in terms of the backgrounds and I really wanted to concentrate my design on the bows and arrows to really create their own signature sound.
I first started to develop all the background locations and the elements for the arrows. I did this even before I had any of the visual effects. I worked on the sounds for the battles, battering ram, swords, and horses. I also did some research on indigenous insects and birds in the Sherwood Forest. In the original cut of the movie there were a lot of scenes with the lost boys. The boys mostly communicated by vocalizing animal and bird calls. The boys were also sick and had coughs.
We had a lot of the crew imitating vocals along with kids and used real animal vocals as well. Although, most of the scenes with the boys were cut out of the movie they still ended up playing a role in the soundtrack. One thing I also wanted to accomplish was creating a fresh sound for all the weapons and arrow whiz bys. We recorded a lot of the elements for the weapons. We actually acquired all the props that were used on the set. We had all the bows, arrows, crossbows, chain-metal, shields, clothing, and boots.
Hop on over to Designing Sound for the full interview on the sound for Robin Hood – it’s well worth a read!