14 MAY 2005
6 MAY 2005
Burtt answers questions
about sound design of Star Wars
Randy Thom Hears
-Going Deep in the Mix With an Oscar-Winning Sound
Film & Video Magazine
Sounds of an african adventure
Jan 1, 2005
25 FEB 2005
December 2004 Cinema Audio Society Journal
is now available for download in Adobe PDF format.
Boot Revisited CAS Journal
Fahrenheit 9/11, Interview with Gary Rizzo
20 FEB 2005
an ear for storytelling, Randy Thom
makes audiences believe what they hear
Francisco Chronicle feb 22
The Year Of Living Animatedly
Online Extras Jan 1 2005
Thom is a four-time nominee
Seattle Times Feb 7 2005
15 FEB 2005
20 SEPT 2004
11 JULY 2004
15 JUNE 2004
SOUND HISTORY ARTICLE:
am the Sound Effects Man
- Pre Cinema Sound Effects
Bob Allen, AMPS Newsletter, Spring 2003 (350 Kb PDF)
4 JUNE 2004
29 May 2004
New articles at Movie
20 May 2004
than 100 Articles listed by Movies
New Section at FilmSound.org
16 May 2004
Sounds & Horrible Actions
A film sound lecture by Sven E Carlsson presenting
how sound and
images interact in the beginning of the film "The Pathfinder" (1987)
15 May 2004
Articles from Motion
Picture Editors Guild
24 April 2004
Interviews with Sound Designer Dane Davis
from Audio Media Magazine
The variety of techniques
used by ADR and Foley artists are recognised by sound
engineers in differing ways. Tim Goodyer reports.
Wesley A. Bulla examines the argument that the ears
are analog and discusses some facts about the way
sound actually gets inside your head.
Lord Of The Rings
Peter Jackson’s trilogy of films
adapted from J.R.R. Tolkien’s The Lord of the Rings are tipped
to be the films of the century. Julian Mitchell reports on the
enormous sound project for The Fellowship of the Ring.
Ther Johnson speaks to the post production
team about the powerful theme of the film project Ali and
mixing the sound to match.
Julian Mitchell talks to the mixers at Universal
Studios about the remake of HG Wells’ The Time Machine.
The Sony sound team talks to Julian Mitchell
about Spider-Man — The Movie.
Julian Mitchell talks to the sound crew involved
with the film version of mystery cartoon Scooby Doo, with a
CGI dog as the lead role.
British film harks back to the charm of The Full Monty with
its own twist on industrial decay and clashing cultures. The
soundtrack needed to evoke the individuality of the story without
surrendering to mawkishness.
Wherever the CGI count goes on a Bond film, the
sound has to follow. Julian Mitchell talks to Supervising Sound
Editor Martin Evans about the sonic challenges he faced for
Legend of Bagger Vance
Gary Rydstrom, Lead Mixer and Sound Supervisor
for The Legend of Bagger Vance, talks to Mark Cross about the
film's sound design.
BBC co-production of The Planets gave Molinaire Studios an opportunity
to flex their audio muscles, the result was a number of award
nominations and an experience as near to space travel as most
of us will get.
If CIA Agent Nathan Muir, the lead character
in the upcoming film Spy Game, thinks he has a stressful job,
he should talk with his post production team. Heather Johnson
a post production standpoint, the prequel's 21-minute promo
is quite complex when compared to the audio of the original
low budget blockbuster. Rita Street and Ferdinand Lewis have
Heather Johnsontalks to the staff at
Juniper Post about raising the Bismarck (in sound).
Heather Johnson talks to the re-recording
Johnson examines the creation of incredible underwater
sounds for Finding Nemo
is no joke at Pomann Sound
York City's Pomann Sound works the high-end commercial market
by day, and enjoys turning out the more creative
cartoon tracks by night. In particular, the Emmy-nominated
Doug series has proved the benefits of DAWs.
Chicken Run is Poultry In Motion. Report by Julian Mitchell
Woody, and the rest of the toys are back in a film that
gave sound designer Gary Rydstrom the chance to make the
audio content more high profile than usual.
Briggs' latest story, Ivor The Invisible, has been produced
by Screen First for a DVD release and Christmas Eve broadcast
on Channel 4. Paul Mac gets the full sonic story from
Dubbing Editor and Mixer Paul Roberts.
and Away - Sound Design of Treasure
Droney (Mix, Jan 1, 2003)
Bill Troubie profiles the team that brought audio
realism to DreamWorks Interactive's war game, Medal of Honor.
19 April 2004
of Footstepping in Great Britain.
Article from AMPS Newsletter
Murch on DIY Foley
of 'The Rain People' and 'Godfather II'
16 April 2004
with Production Sound Mixer Jeff Wexler
Section for Theoretical Film Sound Texts
14 April 2004
Conversation between Murch and writer Michael Ondaatje
(LA Weekly 2002)
Design of 'Walking with (Prehistoric) Beasts'
Sound Designer Kenny
on Sounds for Animation
by Anna McMillan
"Man of a thousand voices,"
helped to develop animated cartoons into a new comedic
art form by creating and performing the voices of hundreds of characters
by Dennis Fischer (Gale Encyclopedia of Popular Culture)
Wars Trilogy on DVD
Each disc in the set will include a commentary by
George Lucas, Carrie Fisher, sound designer Ben Burtt and
cameraman Dennis Muren.
4 April 2004
Sound Wave Award 2004
NPR (National Public Radio, USA)
Mountain Editing Articles
17 Mars 2004
1 Mars 2004
Nemo, Kill Bill, LOTR 3, Master and Commander,
Pirates of the Caribbean, Seabiscuit
editor Bruce Stambler
crew shared director's 'Passion'
"To hear something
that sounds real cool and
modern would have been inappropriate"
28 FEB 2004
and re-recording mixer Gary Rydstrom (with
is leaving Skywalker Sound for the director's chair at Pixar
fills void left by Rydstrom
and the City
"Supplementing the show's rich visual style is a
crystalline, punchy and enveloping audio experience that's among
the very best on television today.."
15 JAN 2004
the perception of sound
by Klas Dykhoff
A Study of Sound Design in Modern Psychological
Article in Mix
22 NOV 2003
Sounds of Realism in 'Master and Commander'
Historical Film Strives for Sonic Authenticity in Recreating
NPR (National Public Radio) Streaming Audio
At the NPR
website you can also listen to the component elements
and the final mix of 'The Sounds of Battle' and 'Rounding Cape Horn'
Interview with the sound designer of Master & Commander
Article by Ben McGrath in New Yorker 2003-10-20
Manipulating sound until it seemed to be
something that existed in real space.
Transition to Sound in Japan
New article at Film
Sections at FilmSound.org:
with Dustin DuPilka, independent Foley artist
Foley Artists at C5, Inc. Share Their Secrets
Shake, rattle and roll: the reel sound of Foley
Design of Sci-Fi Films
Practical Art of Motion Picture Sound”
: The Art of Footsteps, Props and Cloth Movement
Design: Myths and Realities
Recording Sound Effects: The Real Fun and Adventure
David L Yewdall's site for more articles >>
Effects Recording Photo Essays
of the Apes
The West Was Won
Audioterminology in these digital days
Chamber of Secrets
of New York
in the “Panic Room” (Mix)
Room: A Simple Challenge (Millimeter)
Foley Goes to Sea
Crime Scene Investigation
Sum of All Fears
Away (Editors Guild)
the Elements on Cast Away (Mix)
In Black 2
Wars Episode II: Attack of the Clones
22 Mars 2002
with Fred J. Brown
The influential supervising sound editor of such films
The Exorcist," "The Deep", and the "Rambo" films
Now and Then
A Conversation With Editor/Sound Designer Walter Murch
Good Old Acoustic Age
The Chronophone "Talking Pictures" Apparatus
The Excela Soundograph
- Dictionary of Grip Terms
4 Feb 2002
The machine made for the mimicry of sound
"A machine like this is a distinct acquisition to
the modern picture theatre, for when skillfully controlled it provides
a scientific and perfect mechanical apparatus for the production of
distinctive sound, correctly, and at the proper moment." (1912)
Potter - The sound of magic (Studio
Potter and the Sorcerer's Stone (Mix Magazine,
Sound, Toy Cameras (Mix, Jan 1, 2002)
"As a sound designer, I am always searching for new and interesting
ways to re-create sounds, hoping to avoid that dissatisfying,
heard-it-before feeling that plagues so many films (and CDs!) today"
Brief Timeline of Video Game Music
"Consider the ominous ambient sounds of Resident Evil, the effects
which compound the tension and horror as you happen upon those
relentless zombies chewing up your Alpha Team comrades."
contemporary sound design for the web
19 Dec 2001
"Jack Foley: Feet to the Stars"
of humble origins, Jack Foley makes for a rather odd Hollywood hero.
His face was never seen on the silver screen, nor was his name ever
up in lights. Yet Foley's legacy breathes life into every film and
television program you see. It is there every time you hear a footstep,
a slap, or the rustling of clothes
Without Them, Mr. Ripley Would Be a Nobody
interview with Walter Murch and Anthony Minghella
with Dick Mills, creator of Doctor Who sound effects
26 November 2001
Design for Theatre
of Sounds in Public Spaces, PDF
by Björn Hellström
The overall topic of this paper concerns the listening
perception. The paper consists of a presentation of different works
that address the perception of sound.
by Dan Gärdenfors
How can sound feedback improve human-machine interaction? This essay
aims to serve as a theoretical introduction to auditory interface design.
Section at FilmSound.org
23 July 2001
17 July 2001
28 June 2001
articles at Animation World Network www.awn.com
- Browse "Back Issues" at www.mixonline.com
for articles (jan 1999 - July 2001)
- Harnessing the Elements on Cast Away
Randy Thom creates soundtrack from water, wind and fire, Jan 1,
- Short articles in Mix Magazine June 2001:
Pearl Harbor, Rollerball, A.I.,The Fast and the Furious, and The
- Sound fx for "Sleepy Hollow":
Heads will roll, horses will run, Dec 1999
- On-line again: Mix Magazine Archives www.mixarchives.com
- Full text and full graphics from Mix Magazine 1998
- Studio Sound has new URL www.studio-sound.com
I will changed the links from Film Sound Bibliography ASAP
Media Literacy &
Soundscape studies linkpages:
8 June 2001
Tim Tully interviews Walter Murch about the
1998 re-edit of "Touch of Evil"
New resource site:
Hollywood Lost and Found
by Steve Lee
of sound effects with..
- The Legend of WILHELM
- Castle Thunder
- The Universal Telephone Ring
Patching up "Lawrence of Arabia" - an interview
with Oscar winning Sound Editor Richard Anderson, who supervised the sound
work for the restoration of Sir David Lean's masterpiece.
3 May 2001
pictures come to life with sound
Peck, (Mix Magazine, Mars 2001)
sound-design process is no real mystery. In fact, you can break most jobs
down into seven key steps: determine what sounds are needed, collect the
raw sonic materials, manipulate and edit the sounds, integrate them into
the project, revise until satisfied or time runs out, mix the sounds, and
deliver the finished product to the client. This article will look at each
of these steps and define a number of common term"
sound of knocking:
Becker's Le Trou
Brooks (Screening the Past, #12 , 2001)
New 2 April
Studio Sound articles:
with Steve Haynes about about dubbing and foreign language versions
the vampire slayer
glamour and blind terror in a cocktail of
with Dean Humphries
designer Steve Boeddeker and mixer Mike Minkler talk about the theatrical
re-release with a remastered soundtrack
MOS orginally stood for is still up for discussion
sound history articles section is updated
Q&A about Foley
7 January 2001
Audio Post Interviews
Nelson, Re-Recording Mixer, "The Thin Red Line"
Rydstrom, Sound Designer, "Saving Private Ryan"
Rydstrom, Sound Designer, 'The Haunting'
Johnson, Re-Recording Engineer, "Star Wars: Episode 1
Wood, Supervising Sound Editor, 'The Phantom Menace'
Davis, Sound Designer, "The Matrix"
Boyes, Sound Designer, "Titanic"
to Animation Sound
Test Screening of Steamboat Willie
between sound designers and editors
is no free lunch
with Mark Berg
Brief History of Film Dubbing
Artistry: The ambient sound effects of Episode 1
an Abusive Subtitling (subtitles of motion pictures)
design of the BBC's Phobias series
series interpreting the brain's
in terms of sound and music
ears play a larger role than you may imagine
big sound from a little voice
text on the phenomenology of film sound
kinds of sound belong, not to the order of ostension which dominates the
image - in which everything is à voir, to be had by and made clear
to the eye - but to an order of mutative commixture, characterised by
the encounter and transformation of imaginary substances.."
MAN IN THE IRON MASK
Design for Riven
sound design article
design from a tiny pov
Soldiers", and "The Exorcist"
design offers endless opportunities
to Full-Text and Graphics Articles Archives for 1998
October through December 1997
sound design resource site
Strain - As Good As It Gets,
Interview with sound rerecordist
about defining sound for film
in six 30-minute programmes, made for BBC
that aims to blend scientific fact with
rip-yer-throat-out entertainment value.
Postproduction article from Studio Sound Magazine
on sound in Tarkovski, Clockwork Orange etc
With Donald O. Mitchell
-if this sound-producing
object really existed,
what would it sound like?
sounds of silence in The Three Kings
sound editor Bruce Fortune and music mixer Mike Herbeck talks about
with Anna Behlmer discussing effects mixing.
Behlmer is 4 time Oscar nominee ( The Thin Red Line,
Confidential, Evita and Braveheart.)
Blake’s Film Sound Glossary
Sound and films
of Wyatt Earp
guide to SFX
based Audio Theater Education
the Trenches of TV Sound
An Interview with Larson Sound's
by Linda Dove
- Application Guide
- Microphone Technology
- Pro Audio Dictionary
- the Art and Technique
of Post production sound
Describes technical processes
of how sound is created for a major Hollywood feature and creative aesthetic
contributions of sound designers, re-recording mixers, and editors of
dialogue, effects, and music.
by Elisabeth Weis