Hey guys! I’m working on a new project now, titled Project Titan, for which I will be the lead audio engineer working with Magic (who I worked on Torch’s light with last trimester, and has just finished this sound replacement with Bradley Ellis) and Sebasthian to create sound assets including foley, sound design, and dialogue for an animation project by a team of students at SAE. Their animation project is to make a short trailer for a fictional expansion pack to Titanfall 2, which means I get to make MORE SCI-FI SOUND EFFECTS!!! You can watch their animatic below (this is a demo of basic visual content, and is NOT the final animation that is going into the project, think of it like a storyboard in video form).
The responsibilities among the audio team are as follows, though we will be working as a team to make sure each others’ assets sit well with each other in the mix and are thematically consistent.
Sam Ludinski (that’s me!) – Project Lead, Sound Design, Field Recording
Sebasthian Falk – Foley Engineer, Sound Design, Assistant Mixing Engineer
Magic Lam – Lead Recording Engineer, Sound Design, Lead Mixing Engineer
We will also be attaining music from our classmate Nick Lipsanos, who composed the music for Sebasthian’s last project, a sound replacement of Mac N Cheese that he worked on with Ben Napier. You can listen to the audio from the sound replacement of Mac N Cheese below, however the original author has restricted Seb, Ben and Nick from publishing the video publicly.
For the music in this project, we were given several examples of game trailer music that the animation team thought would fit their production, from which I selected a couple to forward to Nick to give him an idea of what I was after. I wanted to go with something like this for the main body of the song, with an ending kind of similar to this. I wanted something like the first track because as well as sounding epic it is also kind of dark to contrast with the bright aesthetic of the machinery that the animators requested, and it kind of sounds futuristic and mechanical as well, which is perfect for the style of Titanfall 2. The second track is your classic climactic point in a trailer where everything has ramped up and has gotten you excited, and at this point you want some sort of closure to the tension from the rest of the trailer. To ensure that the problems surrounding music from my sound replacement project aren’t repeated in this one, I have been contacting Nick regarding any additional information he may require, providing him reference tracks, and confirming deadlines with him. He has also been sending me updates to make sure that he is on track stylistically, which has been great.
The original timeline for this project was:
Location Recording – Thursday 12th-13th July
Foley Recording – Friday 14th July
Sound Design – Thursday 13th July – Sunday 16th July
Foley Editing – Saturday 15th July – Sunday 16th July
Dialogue Recording – Tuesday 18th July
First Mix – Saturday 15th July – Wednesday 19th July
Feedback & Implementation – Wednesday 19th July – Saturday 22nd July
Final Mix Due – Sunday 23rd July
However we have been pushed back from achieving these deadlines due to some organisational issues on the animation team’s end, meaning that while we have all of our recordings finished (including my own field recordings and a session in the Neve studio with Sebasthian and Magic), all of our deadlines have been extended to match the animation. As a result we plan to slowly work on the sound design this week, and mix the assets to the video whenever we receive it from the animation students (they have been vague about their deadlines despite my badgering). I also spent some time recording narration in the style of Don LaFontaine for the end of the video after I re-recorded the dialogue for Zim in my Starship Troopers project on Tuesday night (both voiced by Jonathon Bonham).
Below are some examples of field recordings that I undertook on the 12th and 13th for Project Titan:
As well as the recordings in the video, I recorded a rusty door knob moving around for various rattly/squeaky sounds, some bedroom doors with rusty hinges for squeaky sounds, and an automatic car window for machine limb movements. In the Neve studio on Friday, Seb, Magic and I recorded various metal hits, an air compression pump and some wind sounds by Seb, a cash register sliding in and out and being hit with various pieces of metal and a rubber tube being swung pust the microphone to give a “thwoop” sound. Here is a timelapse that magic recorded of a large part of our session. As you can see, we had three microphones set up (Shure SM57, AKG C414, Rode NTG-4) to make use of different frequency responses and Seb and I were the “foley artists” for the session while Magic was the recording engineer.
So far Magic and Seb have been great to work with and I can’t wait to start putting everything together with them!
Thanks for reading! I will be posting the results of my sound design throughout the week. Don’t forget you can follow me on facebook, twitter, linkedin, or on youtube where I may be doing some content in the future that would usually be in my blogs.