|
|
|||
| {@caption} |
| {@caption} |
 |
||||||||||||||
|
A Gentlemen's Interview with Blur Studio |
||||||||||||||
|
B.S. - Very good question. Sound effects and music truly make a huge impact on every project. It adds humor, action and emotion, but most importantly it brings the story alive. We typically edit together a very rough pass on sound and music during the animatic stage. Here we lay in the camera moves, main action and tell the outline of the piece by figuring out each shot. At this time we use sounds and music from our vast library here at Blur. This usually sets the tone and pace of the animation. After that, upon client input, we complete a 1st pass on animation and lock down the shot count and running time. Then we get the composer and sound designer involved. Most of the time, we have the pleasure of working with some very talented artists that we have grown to love over the years. Blur’s project supervisors typically supervise the sound, Foley and music sessions to guide the process for maximum realism and depth in the sounds. J.L. -. What software does Blur use to record voice-overs, ADR, etc? Is it done in-house? B.S. - This process is similar to our other audio pipelines. We record rough VO with our artists here at Blur for the animatic edits. We have a small area set up for such a thing in one of our edit suites. Sound Forge is the software we use to grab audio in house. Then during the final music and sound design sessions, we record final voice over in a professional sound studio. That happens at various places depending on the project and talent, but mostly it happens here in Venice or Santa Monica. |
||||||||||||||
|
J.L.- A while ago, I had a meeting with Randall Wallace (Writer/Producer of Braveheart, We Were Soldiers, etc.) I asked him at which point they had decided to use James Horner for Braveheart’s timeless score (the tune that we all instantly say "that's Braveheart!"). He said they were not sure what they were going to use and were just using temp-scores all the way until nearly the end of post-production. Only at that time did they focus on finding an original score composer (and aren't they glad they did!). Braveheart turned out amazing. Where do you look for score composers and soundtrack designers when working on your own shorts? Through management agencies, by approaching artists you like personally or rolling the dice? Also, do you prefer bringing in a score composer during pre-production (like Howard Shore/Peter Jackson), or Post-Production (like Randall Wallace/James Horner)?
|
||||||||||||||
|
Warhammer Fantasy - Cinematic |
||||||||||||||