#sound design
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You can tell it's a proper indie horror RPGMaker game because the menu confirmation sound is moist.
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Hello lost soul, you really shouldn’t be in a place like this, demons are always walking these halls…
Amazing animation by @skeletoninthemelonland @behindthecodes (Saw you did this animation and just couldn’t help but kidnap my Michael VA and have him do some grunting sounds for this and everything else just followed suit 😂)
#animation from someone awesome#sound design#voice acting#michael afton#springtrap#behind the codes#fnaf behind the codes#FNAF 3#fnaf 3 springtrap#don’t keep the devil waiting old friend#animation dub
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Me, listening to @re-dracula
"Content warning: this episode features the sound of a gunshot"
Oh, that'll be when Quincey tries to shoot the bat, I'll be prepared for that.
...
Oh, look. Quincey has got up and left the room for no apparent reason. I bet he's gone to shoot the bat.
...
*gunshot sounds*
Me physically jumping in shock with a little scream
Well done sound design 👏
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Brian Eno, 1972
#brian eno#roxy music#music#musician#musica#rock#rock music#glam rock#experimental rock#keyboard#art rock#ambient#visual artist#activist#sound design#song writer
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While we are talking about THAT scene in 2x3, I want to talk about a very small moment in it that is beautifully done throughout the series: the sound design.
I don't talk much about the soundtrack or sound design in my filmmaking threads because it is not my area of expertise. Sound mixing in film is incredibly hard and I have a lot of respect for people who do it.
Let's look at just 30 seconds of one scene.
In this scene we have:
1) Lapping of water in the room
2) Sound of Stede's footsteps in water
3) The creaking of wood as the ship rolls
4) Stede's voice and breathing
5) Swish of blanket being removed
6) Ed and water in the ocean
7) The beautiful Kate Bush song
All of these are layered on top of each other and each one serves a purpose.
The sounds of the water and wood creaking make the viewer feel like they are in the room, it makes it more intimate. We feel the quiet grief.
The sound of Stede stepping into the water is cut right after Ed hits the purgatory water. It helps emphasize that Stede is meeting Ed in both worlds. He is literally treading the water (mermaid), bringing light and hope.
Stede's voice is soft, he thinks he is speaking to Ed's dead body. The grief voiced for the first time all episode.His intake of breath is the loudest part of the scene, making the viewer more aware of Stede's feelings, his hesitation if he wants to see Ed like this.
Just like how the creaks and water noises make the audience feel like they are in the ship, the water sounds and Ed's muffled voice make the audience feel like they are underwater with Ed. Can feel his struggle more viscerally.
And last we have the amazing soundtrack.
The lyrics line up with Ed's hand first moving.
"Give me your hand."
Ed starts to fight with the rope in the water and his hand twitches in the real world.
Credit for gif
All of these elements are mixed together to complete the scene. They make the audience feel the intimacy of the moment, the lyrics line up with the tone of the scene. And it is beautifully crafted to help tell the story in sound that we see on screen.
Every scene throughout the show is cut together with this level of detail in the sound mixing.
For example, When Ed is throwing away his leathers, the audience hears the very blatant sounds of him binding them up. The loud plop when they land in the water.
Ed is mainly silent during his trek up the stairs and metaphorically dumping of his old self. We can hear the wind whipping around him as he stands on the front of the ship (the same spot Stede stood in the first season when he declares the crew his new family.)
And this silence, the sound of the water wind once again shows the intimacy of a scene. We see Ed's resolve to start a new life.
I implore on your next rewatch to take in all of the sounds implementated into any scene of the show. It's surprising how much there is.
My full breakdown of the 2x3 scene! I talk about editing and overall filmmaking.
#ofmd#our flag means death#ofmd s2#stede bonnet#ofmd stede#ofmd edward teach#gentlebeard#blackbonnet#ed x stede#meta#meta analysis#sound design
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i already posted this like everywhere else so here u go here’s a little work in progress 💜
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Hey Mike! Just got out of Ouija OOE, and wow!! That was fantastic. Packed crowd. I noticed the sound of the ticking father clock a lot throughout the film. I thought it was such a neat trick to get the audience into a state of anticipation, while adding to the atmosphere. Was that an idea you had during script stage or was it conceived in post? Would really love to find out. Thanks!
Glad you got to see it in a theater! The clock was born in post-production. Our sound designer Trevor Gates came up with the idea, and we did a lot of really cool things with it. It very subtly speeds up and slows down during several key areas in the film. It's a very cool effect - you get used to the rhythm of it, and you aren't consciously aware of it, so when it starts to change its cadence you get uneasy and you don't even really know why.
If you look carefully, you'll see there is no grandfather clock in the house - we see every room, and it's clearly absent. But the effect was too cool and we leaned into it in a big way.
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I'm working on a new turbo banger
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Alright getting into some good stuff again. All throughout RGU, Ikuhara was a master of handling tension and using sound to build up & release that tension. He does it here, with just the sound of a revving jet engine.
This is a sound that literally makes it hard to breathe until it passes, and when it does finally pass you have no choice but to see the evidence of Anthy’s deepest hurt.
This whole scene reads to me like a horror movie, even the way Anthy gets up, that sideways lift over the red... it’s terrifying.
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Today's aesthetic: when a video game's default "hitting something" sound effect is squishy.
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i think we should talk more about the sound design in the batman (2022)
specifically in this scene
#the loud music in the club subduing the fighting noises#when i watched that scene for the first time and realized how they’d done the sounds for it my jaw dropped#idk why that scene in particular when it comes to the sound design is just my favorite#like it just makes it so much more immersive and real#the batman 2022#the batman#robert pattinson#bruce wayne#battinson#dc#matt reeves#batman#gifs from pinterest#gifset#gifs#iceberg lounge#movies#sound design#film
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There's something that needs to be said to Audio Drama creators/VAs/Sound People/Storytellers in general.
It's sappy, but I'm saying it. Because I felt like it. Because I appreciate you.
This is for you, from me, Lemon.
(subtitles are in the video!)
#audio drama#audio fiction#fiction podcast#audistorium#voice acting#sound design#voice actors#fiction writing#storytelling
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Synplant 2 is incredible
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A note on the most recent episode of Welcome to Night Vale, #230
This episode was, I believe, the 11th anniversary of the show. This means it was about ten years ago I was on vacation in Wales with my wife, where I wrote the albums Madoc and Taran Wanderer. It was while on this trip - knowing I was about to lose my day job at a rapidly sinking book publisher - that I first received a communication from a fan in Brazil asking for my permission to use music in a Portuguese “fan translation” of the podcast. The fact that the show had reached so far away and inspired people to translate it was, in retrospect, one of the first signs of what was to come, which ended up completely changing my life. But at the time I simply thought it was neat and moved on, and we spent days tromping through sheep pastures looking at cairns and standing stones in a remote corner of Ynys Mon. While doing so, we encountered a rusty old farm gate that sang a particularly haunting song as it opened and closed, which I recorded. I thought it would be cool to use that sound in this season finale episode, and so it’s what I used (well, a small fragment of it) to play a new version of the main theme music. I thought the sound ending up working well atmospherically with the episode as well.
If you’d like to use that sound yourself, you can grab it here: https://freesound.org/people/earwicker23/sounds/193712/
Also, I’m not going to spoil the plot of the episode but it concludes in a rather dramatic fashion and required a specific sound design element. I’ll admit it had me stumped for a few days, but here’s what I did. I had a canvas sack filled with a few ice packs that had melted, effectively they were just little plastic pouches of water. I dropped this from a height of about eight feet, landing 1.5 feet from the microphone (an sm58). That’s source one. Source two was a ziploc bag filled with a mix of wet and dry cheerios, plus an egg, crushed by foot. The two sources were each slowed down very slightly and then combined, with the first source somewhat louder. So there you go, in case you ever need to do… that.
#welcome to nightvale#welcome to night vale#wtnv#sound design#podcast production#disparition#foley work#foley#wtnv 230
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Coming On Strong by Sound Design (1999)
#99#90s#1999#1990s#art#cybercore#cyber y2k#design#disk#electronic#future#futuristic#futurism#graphic design#graphics#hard house#illustration#kaybug#music#sound design#y2kcore#y2kore#y2k aesthetic#y2k art#y2k core#y2k cyber#y2k design#y2k futurism#y2k graphics#y2k
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