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BloodSpell Development Updates

Sound's Good

BloodSpell Development Updates

Sound's Good

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It's been a productive first week of sound work on BloodSpell. 42 tracks of mixing pleasure, and sound assets include over 150 individual pieces of sound... some hand-made, some from professional sound libraries. And that's for the first episode!

Ambient and Foley placement is complete for Episode 1, and mix automation is about 50% finished. There is one particular sound which I have saved for today, which requires some intense design. While the other sounds must be just right too, this one is particularly important because it will get used again throughout the film, so whatever I design now I'll be pretty much stuck with. It's tricky, and without giving anything away, I'll just say that it's most challenging because it's not a sound anyone in THIS world has ever heard before.

I'm certainly happy that I invested in several Hollywood Edge volumes as well as the relatively new Sony Pictures Sound Effects Series, as they have given me a great deal of high-quality raw materials to work with here. No internet-downloaded 11kHz samples in this film, that's for damn sure.

Music-wise, all score is in place for this first episode except for one very brief section which I'll be getting done today. I'm particularly happy with the opening, which I spent a lot of time on because that first impression for a film/series of this magnitude is so important. I think the team will be pleased, we shall know soon.

Episodes 2 and 3 are charted out, and while neither is quite as complex sound-wise as this first one, the third episode has some astounding moments that will require some more heavy-duty design which I'm looking forward to immensely.

All in all, I'm pleased with the progress in this first week, considering that the first couple days were just setup and resource-gathering for Act 1 in general. But once things got going, I've been able to keep some nice momentum while not totally wearing my ears out, which is a big factor for long sessions like this. Fellow engineers, I implore you, take good care of those ears!
  • (Anonymous)
    That's good news, Overman. A lot of work described in only 6 paragraphs. Believe me, I know the work involved. The description of your "mystery sound" is intriquing. Good luck on the work. Have I asked you what sound software you are using? I just upgraded to Audition 2.0 and it's the shit.

    Those sound effects packages look pretty good. I'll head over and check them out.

  • Software

    It's interesting, because for my audition for BloodSpell, I used Sony Vegas for everything except the actual music composition, for which I used Steinberg Cubase SX. But for the actual production, there are some features in Cubase that drew me to use it as the primary software, whereas I'll probably only use Vegas when it's time to render to video.

    Biggest plus to Cubase vs. Vegas, in this context, is in terms of asset management. I know Sony touts their database-driven modules for the Acid and Vegas line of products... but I just find Cubase's "Pool Window" much easier to use to keep track of the pieces and parts. And, of course, support for VST instruments is much stronger in Cubase (since Steinberg invented the technology), and that has proven indispensible for "performance" foley like footsteps and some combat sounds. I'll go into more detail in a future post about my method there; I don't know if it's a conventional method, but it works well for me.
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