Friday, September 10, 2010
"HALO: REACH" Game Audio Profile from Michael Coleman on Vimeo.
I don't play console games at all. In fact, I more or less quit gaming altogether about 5 months ago now. I've been keeping real busy with my own sound work that I just don't have time to waste!
At any rate, that is not to say I wouldn't love to do game audio down the road. It's a highly specialized field in sound design with alot of proprietary software to learn, (wwise etc). But by the looks of this video, it looks like a lot of fun and is probably very satisfying.
Just think of the sound design for Dead Space. Did that blow anyone else's mind or just mine?
Enjoy the video.
Thursday, September 9, 2010
"Scott Pilgrim vs. the World" Sound for Film Profile from Michael Coleman on Vimeo.
Now, I haven't seen this film yet but all of my friends tell me I should. After watching this video I hope I can still catch it in the the theaters. So exciting to see more and more films putting this much focus in their sound design. This gives me huge hopes for the future. Enjoy the video.
Wednesday, September 8, 2010
Check out this amazing video of the sound design work done on Inception. They had a HUGE sound team. Normally films will have 5-10 people max. Good to see this much attention going to film sound.
(Via: Sonic State)
The Soundworks Collection, a series of short films that take you behind the scenes to look at the sound design and scoring of current feature films, has released their latest film, a look at the sound of Inception.
Inception is a science-fiction thriller about a man who steals ideas from people's minds while they are dreaming.
The profile features supervising sound editor and sound designer Richard King, Re-recording Mixer Lora Hirschberg, and Re-recording mixer Gary Rizzo.
Other films recently profiled include Avatar and Star Trek.
Tuesday, September 7, 2010
Those same industrious nords are at it again!
(via: Noise for Airports)
Linus Åkesson’s Chipophone is an organ in which he replaced the guts with microcontrollers that produce the typical chiptunes sounds. It’s a very fun-looking device for playing music that was designed to be played by a chip “live,” and Linus is clearly a skilled player of it.
What I find the most amazing, though, are the various ways he’s found to play with the fact that chiptunes is generally a music listened to as a recording. There are typical features like a step sequencer and arpeggiator that seem to take on new meaning in the context of live chiptunes playing, but the craziest thing for me is the “fadeout button” he demonstrates. After he presses it, he continues to play, while the volume automatically decays. It’s a fantastic incorporation of something very distinctly “record-like” into live performance.