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Sound Design Update (25/11/13)+ Link to District 9 Sound Design for Alien and so on

Another update incoming:

Light noise+Flickers

Light noise+Flickers

So the first thing I added during this session of add and play around with the sound was the sound of the lights in the room. As I stated before in the first post I wanted to have some background noise but at that point only had a coughing sound. As you can see for the most part the buzzing keeps going on but then in the screen shot you notice a little cut up which gives off a flickering sound to break the none stop buzzing sound. I feel this fits well and makes the room seem more realistic.

Shotgun Shots

Shotgun Shots

I mentioned this part in the last post but back then the sounds were not sorted out but now they are. All the shotgun sounds are in place and it was rather easy as well and seemed to fit into place mostly by itself. There are a total of five shots before the shots stop and can be seen under the large red segment in the screen shot. There is more to this part which will be mentioned a little later.

Boiler in the Background

Boiler in the Background & Shotgun Cock

This part is still a little thin as I still need to find a sound designer and use their process for the alien voice and one other sound which has not yet been thought of. Anyway to the point I added a boiler sound as one of the background noises to give this part a thicker part though still has parts needed to make it sound better. I chose water boiler though the sound of a water tank would of been a nice choice as well. The idea of a water tank leaking was an idea or some pipes leaking which would be the same idea. At the end I added the shotgun being cocked before the scene changed to the next scene.

Laser Shot Sound

Laser Shot Sound

Now I am back to the terminator scene and as you can see the laser sound has been added and maybe morphed using several processes if I can find a sound designer who made a sound similar to this. Strangely it fits in and so I had to do nothing but some FX’s will be applied once all the parts are placed.

Car sound, Radio Music, Truck Rattle, Heart Beat, Ice Cream Truck

Car sound, Radio Music, Truck Rattle, Heart Beat, Ice Cream Truck

This has had the most added though when I started this session this part had nothing, this scene is from the movie I-Robot. So far only four sounds have been added.

First off I will mention the car sounds, the start of this scene we find ourselves within the car and what is heard when you are driving a car? You hear the engine unless one of those quite running cars are being used but this car is not one of those. I added the car sound because I felt it needed it, it gives you the sense you are in the car with this person or you are this person.

The next thing I added was some music from what would be a radio or CD playing. The track is rather soft and suits the scene quite well as the person in the car (Will Smith) looks quite relaxed. I added it because what else would you hear in a car? We could mention a few things but the thing I would point to is the radio or CD player.

After the radio music was added I moved onto the first sound of a truck, this sound is of the contents rattling as in this scene the tracks following the car before boxing it in is carrying at least 100 robots in. Not to much can be said here but another sound will be added unless it drowns out the sounds of the other audio.

And lastly at the end I added the sound of an ice cream truck jingle. Why you ask? The answer is it was a random thing I thought about doing and it happens mostly on the blank screen which is the end of the trailer. The truck is not scene and so we wonder if it just turned up as the car is being boxed in.


((Text Directly from site, no rewording))

DS: What are some of the sources of that sounds? Can you give us some examples?

DW: I thought I would record insects at 192k to see what they had to offer the alien palette. I made a little insect recording booth and recorded bumble bees. Its amazing what interesting textures you can get from micro recording.

Also some of the guys decided to breed flies at the back of the studio to build up our ambient fly and close up single fly palette. After the rotten piece of chicken was devoured by the maggots that took up camp, they were given I nice glass tank to complete their transformation. We ended up with hundreds of them and released in the ADR room at Park Road Post. We recorded various intensities of flies, single fly bys and intense close up group buzzing and droning. It was disgusting but incredibly funny. Did I mention disgusting? We made some great ambient sci-fi components out of this stuff.

DS: There are a lot of different futuristic guns in the movie, I think it was very fun for you to create them. How was that?

DW: In the first weeks before animation turned up I developed a palette of alien gun/weapon components. Bees, pipe hits and blows, nail guns and synthesizers through effects chains were some of the building blocks for the alien side of the weapons. I handed this palette to Brent Burge who cut the final version of the alien weapons. He definitely put the big boom boom in the guns.

DS: I felt some scenes of hard tension, “slow motion” moments, camera-falls, etc… How were the sound-decisions in these scenes?

DW: This was partly driven by the picture editors choice of temp sound effects. They worked so well, we created our own version and expanded on it. Kind of a seventies sci-fi, lo-fi feel to it. I made up a an ethereal palette for the film, but I used a very minimal palette for the Wikus ‘headspace’ scenes in the end.

When he gets taken the MNU laboratory we took it a step further with the ethereal design and background lab test animals and aliens. Lots of hard cuts and grungy unsettling shifts.

DS: How was the creation of the sound of the Wikus robot and Alien spaceships?

DW: The Exo Suit ended up being made from some very lo-tech elements. Typewriters, small appliance servos, dirt hits, steam train chugs to name but a few elements. I cut the first full version and handed it off to Effects Editor Hayden Collow, for the final hard effects sweetening pass to take it to the mix.

The core of the spaceships came quite easily. I sat down one morning in front of my JP8080 synth and a few excessive plugin chains and recorded one fat file that was the basis of the Mothership and the Dropship. I wanted a ‘heavy metal’ version of a spaceship and feel that’s what we got.



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