In this week's Sunday Sound Effects Round Up we take a look at a free bicycle library from RZ Post, how the creepy sound of the movie "Lights Out" was made from the A Sound Effects blog and learn that this year's GameSoundCon will have a day dedicated to virtual reality.
RZ Post Offer Their Bicycle SFX Library For Free For A Limited period
This library is normally $19.99 CAD but for a limited period RZ Post are offering it for free.
The RZ Post Bicycle SFX Library consists of recordings of bicycles in different surfaces and perspectives.
- 40 Audio files
- 108 MB size
- 48kHz 24bit High quality recordings
How The Creepy Sound of the movie "Lights Out" Was Made
Lights Out by David F. Sandberg has received lots of praise for its great scares – and a truly unsettling story, too. In this exclusive, in-depth A Sound Effect interview, Jennifer Walden speaks with Lights Out’s award-winning sound designer and supervising sound editor Bill R. Dean.
He shares the team’s approach to horror sound, how they used dynamics to create some very effective scares, the surprising sources for some of the movie’s signature sounds - and much more...
The movie deals with a fear that just about everybody has at some point in their life, the fear of the dark. The great thing about that, in regards to working with the sound on this film, is that the characters and the audience start to depend on listening because they can’t see what the danger is. They have to start consciously listening for it. You start listening for sound cues to protect yourself. It’s a fun aspect of the show.
One of the things that is interesting about the film is that our specter, Diana, has her own sonic signature in our world and it’s not just her voice, which is also unique. We hear the way she moves and that’s something David really wanted to focus on. We hear her movement so we know she is really there and not just a vaporous apparition. David also wanted her sound to convey what happened to her, with her accident and how she was burned. He wanted to have this feeling that her body was irreparably damaged and you can hear it when she moves. All of her joints don’t work the same way so it’s very poppy and snappy; she moves in these jerky motions. Her skin is all charred and gnarled and so when she moves that skin it sounds all cracky and gross. It helps to make the audience just love her that much more.
You can read the full interview with Bill R. Dean by Jennifer Walden on the A Sound Effect blog.
GameSoundCon Adds Virtual Reality Day To Their 2016 Conference
GameSoundCon has expanded its 2016 conference with a full day dedicated to Audio for Virtual Reality and another full day on academic and research topics. Sound designers of all levels will come together on Sept 27-28 in Los Angeles for two days of sessions, networking opportunities, and hands-on workshops focused on all aspects of game audio, including Virtual Reality in video games. Brian Schmidt, Executive Director of GameSoundCon, sees exciting opportunities for game composers and sound designers in the new field of Virtual Reality and its close cousin Augmented Reality. He told us...
Virtual Reality is not only taking the game industry by storm, but most other forms of media and entertainment as well. Along with Augmented Reality, VR presents a whole new set of challenges and opportunities for composers and sound designers. Due to the inherently interactive nature of VR and AR, those who are familiar with interactive audio tools such as game composers and sound designers will definitely have a leg-up over those who have only worked in traditional media.
One of the speakers at this year’s GameSoundCon will be Scott Gershin, Technicolor’s Director of Sound Editorial. Gershin has worked on over 100 films and received 26 industry award nominations, including a BAFTA Award for his work on American Beauty, Guillermo del Toro’s Pacific Rim and Dan Gilroy’s Nightcrawler. At GameSoundCon, he and Technicolor Sound Supervisor, Viktor Phoenix, will cover advanced techniques and best practices for implementing 3D audio for Virtual Reality
MTV VMA nominated composer Tom Salta, one of the most versatile and prolific music artists/producers working in film, television, advertising and video games and collaborator, Klayton (Celldweller) will speak about the highly interactive Wwise score for Killer Instinct 3.
GameSoundCon is a resource for sound designers and composers from Film, TV, music or other traditional media who are looking to widen their skills when it comes to composing music for games, and to game audio professionals who want to learn more about Virtual Reality, Augmented Reality, and other new areas of growth. The conference will held on September 27-28 in the Milliennium Biltmore Hote in Los Angeles, CA.
Look out for more content on gaming audio and virtual reality coming to the site over the coming months.