Source 1.
The Foley Grail
The Foley Grail is a second edition book written by Acclaimed Foley artist Vanessa Theme Ament. The book was published in 2014 by the Taylor & Francis Group and, as the title clearly states, covers the topic of the art of performing sound for film Games and animation.
My interests in this book, as a source of information, applies directly to my chosen path of studies and career aspirations thereafter. Specifically interesting are the chapters discussing the future of Foley as a part of the wider media community and the changes and differences in the way Foley and audio production is being taught in present time.
All of the information in the book is relevant to my interests. As mentioned before my chosen career path is in Foley and sound production for use in film and gaming. While only in the early stages of my studies i am trying to gather as much information as possible, to not only further my understanding of audio production but also its relation to other forms of media and to observe how to interact in the surrounding community as it applies to building my own career.
Source 2.
The Sound of the Shadow of the Tomb Raider
the video, From The Soundworks Collection Website, contains a collection of interviews and sound bytes from the team at the Montreal branch of EIDOS sound Studio. throughout the video they discuss their in depth approach to the audio production for the game SHADOW OF THE TOMB RAIDER and discuss the different techniques and processes that they implemented to provide the audio effects and the music that they needed to best compliment the video game
What i found most engaging about the information in the video was the amount of work that they put into arranging certain key point sounds and ambient noises to create an immersive audio experience rich with texture and detail specific to the feeling and emotions that would compliment not only the stunning visual component but really add a sense of being in the world. Also the use of audio cues tying to components of the visual work similar to those used in scoring for films.
The information in the videos is relevant to my interests in a general way as far as my interest in producing audio for films and games goes, but i have a particular interest in the way that the music producer Brian D’Oliveira uses very unique instruments to produce the incidental score and the general score for the game. A lot of the instruments and tools he uses to are quite different and some are not even really instruments, for instance the authentic Aztec death whistles he uses at times are not specifically used for making music. but as he describes he had many different varieties of whistles and they had almost harmonic and melodic qualities which he used to create a very different kind of score. this calls into question what other tools or instruments that are not typically instruments might be used in this almost Foley-esque manner to create music.
Source 3.
Sound Design For Visual Media
https://www.soundonsound.com/techniques/sound-design-visual-media
In the SOUND ON SOUND article publsihed in 2014, writer Nick Metcalfe discusses in detail several different processes, techniques and creative tools to help guide any person beginning a professional career in sound design. there are many tips and tricks mentioned, some relating to his own personal experience within the industry and some relating to other articles that he himself has written on the same subject or on similar subject matter. the article is broken into sections relating to several important areas to do with audio design, making it easy to read and helpful when referring back to as a guide.
what is interesting about the article is the way that it is written in a manner that feels like you are being taught by a peer or mentor. I personally think that this kind of writing would be helpful to myself and my own learning process. Also the material covered contains a lot of information that could be used to help understand the wider branches of audio design.
The information relevant to my own interests specifically is the section in the article where metcalf talks about Foley, as it relates directly to direction in which i am turning my own studies and my chosen career path beyond that.
REFERENCES:
1.Vanessa Theme Ament.(2014) The Art of Performing Sound for Film, Games, and Animation. ProQuest EbookCentral,https://ebookcentral.proquest.com/lib/sae/detail.action?docID=1664257. Routledge:Taylor & Francis Group
2. Michael Coleman.(producer/Editor).(2018).The Sound of the Shadow of the Tomb Raider. Retrieved from http://soundworkscollection.com/videos/soundworks-collection–the-sound-of-shadow-of-the-tomb-raider
Jeff Eishen.(publisher).(2015/Feb/03).Aztec Death Whistle. Retrieved fromhttp://soundworkscollection.com/videos/soundworks-collection–the-sound-of-shadow-of-the-tomb-raider
3. Metclafe,N. (2014). Sound Design For Visual Media. Sound on Sound. https://www.soundonsound.com/techniques/sound-design-visual-media
Isaac Gresswell 1011634 