The SoundWorks Collection talks with Supervising Sound Editor and Sound Designer Christopher Boyes about the his work on The Avengers.
Marvel Studios delivers the ultimate comic-book film, which ties together such characters as Iron Man (Robert Downey Jr.), Captain America (Chris Evans), The Hulk (Mark Ruffalo), and Thor (Chris Hemsworth) for a big-screen franchise team-up like no other. Taking center stage this time is Nick Fury (played once again by the note-perfect Samuel L. Jackson), leader of the peacekeeping agency known as S.H.I.E.L.D. Fury, along with former Russian spy Black Widow (Scarlett Johansson), recruits a super team to combat Thor’s ever-deceptive brother Loki (Tom Hiddleston) after he brainwashes ace archer Hawkeye (Jeremy Renner) while stealing a cosmic cube from an underground base. Thus the heroes must learn to work together alongside outlaw scientist Bruce Banner (Mark Ruffalo), who can track down the artifact’s gamma signals when he’s not hulking out into a giant green monster. Show runner Joss Whedon (Buffy the Vampire Slayer, Firefly) adapted and helmed the script by Zak Penn.
“This is a video of me recording the sound of emptying a 55 gallon drum filled with yucky, rusty water for an upcoming sound effects library. Quite a workout and sounded like glubs. Enjoy! -Frank”
“Recording the sound of gun powder flare ups and sizzles on April 21, 2012 at my outside concrete floor foley studio.
Recently I have been experimenting with recording different type of gun powder to see which is the most effective at certain things. Some of those things are flare up speed, loudness, sizzle and volatility. So far I have tried three different types and those include synthetic, natural, and smokeless. These three types make a different sound and visual effect. The synthetic burns really fast and bright, the natural has a nice sizzle and of course makes a lot of smoke and finally the smokeless burns slow with sparks and makes a nice deep whoosh sound.
I set up a Sennheiser MKH-416 and a Sennheiser MKH-8040 on my outdoor concrete foley studio (which is very safe for recording fire this time of year). All the types of gun powder were not very loud so I experimented with various distances. At the beginning of the session there was a moderate wind so I had the Windjammers on and kept a close eye on any possible melting (they will melt very quickly, not recommend for use with fire recording). I started out with small flare ups so I thought the Windjammers would be OK and they were fine. After a few takes the wind died down so I took them off and it’s a good thing because I started to use more and more gun power so the bursts was getting hotter.
The video below does not have any footage of the synthetic kind. I used most of it while recording for Ultimate Destruction and I plan on recording more of it in the near future.
I combined the smokeless and the natural kind and got some wonderful fast bursts. I tried a curved pattern which was interesting because the whole thing went up at once NOT in a curve. I also tried long smokeless burns which turned out great for whoosh and flamethrower type sweeteners. I set the gun powder off with a short fuse with one end inside the powder. I found out that if I put too much of the fuse into the powder that it will still be sizzling after the powder has burned off and getting a good deep whoosh without a sizzle at the end was difficult.
As always, I must claim that I practiced as much fire safety as possible. I had goggles, gloves with a extinguisher at the ready. It is very wet here this time of year and the vegetation is saturated or just starting to grow. Yard waste burning is allowed without a permit in the my county at this time. Enjoy! -Frank”
Dolby Laboratories, Inc. announced on Monday, April 23rd at CinemaCon 2012, Dolby® Atmos, a new audio platform that will change the experience of sound in entertainment. Launching in the cinema, Dolby Atmos delivers a more natural and realistic sound-field, which transports people into the story with a lifelike, sensory experience.
For the first time, Dolby Atmos introduces a hybrid approach to mixing and directs sound as dynamic objects that envelop the listener, in combination with channels for playback. Dolby Atmos enables adaptive rendering to ensure that the playback experience is as close as possible to the creator’s original vision in any given environment, irrespective of the specific speaker configuration in the playback environment.
Dolby Atmos is an end-to-end solution that takes into account the entire content pipeline and brings together mixers, studios, and distributors to create dramatic improvements in the audio experience. The Dolby Atmos platform provides content creators with a new creative freedom to tell their stories. It simplifies movie distribution with a single universal package to deliver to audiences the full impact of the artist’s intent, regardless of theatre configuration.
