Worked nice.Ĭhris Sweetman told me a good technique for getting a really effective bone breaking noise. I used acorns, small apples and walnuts on wooden parquet surface. Get it with as much of the leafy stuff still on it as possible – good fresh corn. Make sure the crunching items are hard enough to transmit vibration to the plywood. Use the contact mic material for the thick, heavy sweetener. In addition to your regular mic, try using a contact mic on a slightly resonant surface, such as plywood, and crunch things with your boot. Real Bones? Dog Chews? Branch snap + filter?īreaking inside the body: Manicotti Pasta covered with a rag, close mic, break it slowly so you can really accentuate the crack. Thin triple sheet plywood left to soak outside in the rain then dried in the sun and torn apart, snapped. Jacob’s melon – melon with jacob’s cream crackers glued on it. Worked really well.Ĭelery/Carrots/Little Gem Lettuce – try freezing them too. I would keep some damp (not wet) for closer shots. I would twist, crush and break, spaghetti, elbow and linguini noodles dry. Ended up using a bunch of different kinds of pasta to capture the different angles and sounds for this creature. It looked like an alien with its extra long thin limbs.
BREATH OF THE WILD SOUND EFFECTS GUARDIAN LAZER MOVIE
Recently I finished a horror movie where the monster (evil spirit) was spindley and contorted-looking. I would suggest a cheap pair of leather gardening gloves as well since the crab legs are a bit prickly in spots and can be hard on the hands without protection. It’s a great combination of the hard shell breaking with a bit of fleshy sound mixed in.
Just experiment with breaking, twisting, smashing, tearing etc and you will start to hear the possibilities. This technique can yield not only bone breaks but also a variety of flesh ripping sfx: Get yourself to the fish market and buy some King Crab legs, the bigger the better. Making Waves: The Art of Cinematic Sound is released in the US on 26 October and in the UK on 1 November.I personally like putting things in (cooked) whole chickens and then beating the chicken with a sledge hammer or other bludgeoning device.
My one tiny regret is that this doesn’t show anything from Albert Brooks’s 1981 comedy Modern Romance, in which Brooks plays a film editor who in one notable scene improvises the sound effects for a sci-fi movie. The other thing that this documentary does is emphasise that sound design is an important part of a film’s music – it is the film’s music, or part of it.
And this was not to make the noise of jets dreamlike or surreal or metaphorical, but simply to make it sound stronger on screen, more compelling, more real. In fact, the sound is “written” just as much as the screenplay.įrom this movie, I learn that the sound of fighter planes in Top Gun was not simply the sound of actual planes, but that noise mixed in with the modified sound of wild animals roaring. The great thing about a documentary like this is that it challenges the assumption – easily held – that sound is basically about simply capturing or tape-recording what appears to be taking place in front of the camera. This film speaks to the great maestros of movie sound, such as Walter Murch, Ben Burtt, Kysten Mate and Victoria Rose Sampson who, with great frankness and amazing modesty, talk about their extremely difficult work.