what vsts do movie sound designers use???.

Discussion in 'Production' started by DYSRUPT, Feb 4, 2014.

  1. DYSRUPT

    DYSRUPT Active Member

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    I was curious as to how sound designers make fx for games and movies. . . . .Then i found this (5:10) and it reminded me that I don't know shit and Im not worthy. hahahahaha

     
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  2. Mason John

    Mason John 21st Junta

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    We all wish we could afford to do sound design that way, but vsts are the next best thing (and required for certain sounds and processing anyway).

    - - - Updated - - -

    We all wish we could afford to do sound design that way, but vsts are the next best thing (and required for certain sounds and processing anyway).
     
  3. Dugg Funnie

    Dugg Funnie Well-Known Member

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    I think a majority of the time it's sample oriented stuff compared with an IMMENSE knowledge of sound and signal processing, you just can't pirate that or even buy it really. Time & effort & knowing your way around your toolbox & the incentive of a fatass hollywood check coming your way. Like if you look up the "Kongalizer" effect that they did for the new King Kong movie, it's pretty simple stuff, that sounds amazing mostly because the people who did it KNOW THEIR SHIT!
     
  4. RUSSLA

    RUSSLA DNBF Monarch

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    ^Yeah was guna say mostly sampled tings, like dry ice or some shit. Think of their budget tho!
     
  5. alz

    alz compress to impress

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  6. rysk

    rysk Part-time waster

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    pfffft... you don't need fuck tonnes of cash to do foley work, you need a microphone and some shit to play with, that's pretty much it.
     
  7. RUSSLA

    RUSSLA DNBF Monarch

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    Nah you dont but judging by half the shit on Freesound its clear people cant even afford a decent mic!
     
  8. groelle

    groelle Well-Known Member

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    or care about soundquality ..
     
  9. lostnthesound

    lostnthesound Burns Easily in the Sun

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    Hans Zimmer/Howard Scarr (The Dark Knight trilogy) used Zebra 2.5. Hence, the release of u-he's Dark Zebra.
     
  10. DYSRUPT

    DYSRUPT Active Member

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    Yeah, I knew zebra was kne of them. . . I use that. . . It seems every sound that comes out of it is epic. Haha.

    Sent from my SGH-T999 using Tapatalk
     
  11. sam the dnb man

    sam the dnb man Variation

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    Hans Zimmer isn't human
     
  12. subprime

    subprime Dysjoint

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    For a low end setup (lappy and 2i2 interface), anyone got any experience with a decent mic. I love foley stuff, but only had a Palmtrack handheld thingy and the noise floor is annoying for subtle sounds. Ok for heavily processed stuff but not so for clean.

    Cheers
     
  13. RUSSLA

    RUSSLA DNBF Monarch

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    We had really good results from this:

    http://www.absolutemusic.co.uk/rode...ension-pop-filter-cable-and-tutorial-dvd.html

    Good enough for clean home recordings. OR you looking for field mics?
     
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  14. subprime

    subprime Dysjoint

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  15. RUSSLA

    RUSSLA DNBF Monarch

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    I can't comment on field stuff but that Rode pack is proper value for money (y)
     
  16. djdizzy

    djdizzy Active Member

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    definitely zebra b/c as mentioned above, it was used for batman.

    my wife goes to an art school (focused on tv/film production) and they just stick to digging through ridiculously humongous foley libraries
     
  17. Prideinyouride

    Prideinyouride Member

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    You can get good results with granular synthesis...and time. I've played with omnisphere before and there are some very deep patches to get your melon round.
     
  18. Prideinyouride

    Prideinyouride Member

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    The sound of your nan milking a cat and the sound if you curling one out, stick it in a
    granular synth,
    reverse it,
    stretch it
    Squeeze it,
    Hollywood
    ...
    ...
    ...
    Profit?
     
  19. Sammy Dexcell

    Sammy Dexcell Stop editing my profile Smarty!

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    I need this in my life, and coincidentally it's appropriate to post here.....

     
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  20. DirectCurrent

    DirectCurrent New Member

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    ^^ yeah that damage thing is a beast.

    For films i reckon its all about field recordings and using plugs like Izotope RX to clean up any recordings. Also i reckon (might be wrong) that unlike big budget music production which love to use vintage hardware film audio guys tend to just use ITB plugs, probably UAD stuff. I think the TL space is great for realistic reverbs and Valhalla Shimmer is top notch for epic stings and whooshes.