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 Now online (1)dariusgriffin ...and 197 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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I wanted to see if it was possible to replace every sound in a particular film's sound fx stem with synthesized variations that, when mixed, can be relatively convincing in clarity and quality. I used WALL-E as my proof of concept. This one-minute video took about 40-50 hours of work over a two week span. Every single sound is synthesized - no foley, no sample libraries, no field/studio recording. The synthesis was all done in SuperCollider and Pure Data. What do you guys think? |
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amazing stuff man, very detailed! |
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the wind sounded pretty authentic. nice work |
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Yah, that's pretty cool! However, my one crit: the high pitched electronic whining sound is more indicative of delicate electronics or tiny servos, as opposed to something with more mass. So like for the huge door closing scene, it might've benefit to lower the sound an octave or something like that. Also, another thing with synthesized sfx is that depth is lacking, but this can be fixed by layering, layering, layering. For example- a boot walking is the thud of the mass of the person, but the delicate scrapes of cheap plastic rustling around with pebbles are what add structural information of the boot. |
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That was lovely! Awesome job man. |
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Thanks for the feedback guys! jnasato, are you into sound design? You're right - I should have lowered the fundamental a bunch and killed off the higher freqs for a more convincing sound. I'll have to revise it some day! =) |
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As far as I know, most of the sounds in wall-e were synthesized with a pacarana. |
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According to the DVD, they pieced together some complex motor recordings to get the sounds for WALL-E himself. Not sure about the rest. The guy is the same guy who did Star Wars (and, thus, invented the light saber sound) so I'd believe it - other than the pacarana thing. |
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It's a bit late now but is great for synthesized animal hybrid things. He works for Camel audio now. |
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thumbs up only the wiggle waggle is the less convincing to my ears this youtube would make a cool huge door |
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the wiggle waggle is the less convincing to my ears i don't know what a wiggle waggle is, i just found out it's a Herbie Hancock song i mean when it put himself to sleep, the noise of this |
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"jnasato, are you into sound design?" Yah totally, especially with regard to perceived imagery (with just sound) or perceived emotion through juxtaposition of sound+imagery. Like the aforementioned light-versus-heavy servo sound on the massive door-- such sounds can create massive depth of narration, and such efficient delivery of information is a wonderful thing! For example, having repetitive clicks could indicate wear and tear, or ultra low mechanical rumble could indicate age and archaic tech, or woooing and epic strings could indicate the usage of magic, or hissing could indicate the usage of hydraulics, etc. With sound+visuals, narrative ability can become immense! ...Watching some clip of horror films with clown music played over, really made the importance of music/sound apparent to me. |
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nice, congs. here's the official Terrence Hill layman observation: regarding your original pitch: why shouldn't it be possible, i think it certainly is - if you put enough time and skill into it. Though for many sounds it might be highly impractical innit, especially if you can use cheap/fast tricks to create certain hard to synthesize sounds from recorded material simply by changing playback speed or something. also i think proper spatiality is about 50% of the success of a sound, i.e. placing them into space with reverberation/filters.. anyway congs, interesting topic |
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i appreciate the effort put into this. keep it up bro! see, this is why i frequent xltronic -- it's for the cool surprises like this here thread. yo. |
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There isn't any depth/space in the placing of the sound effects. That's the downside for me. I know people that do foley for a living and they say stuff like "That's not a Siemens shaver!" They're not my friends I just know them. |
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fantastic!!! |
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That's interesting. I made a pretty big effort to match spatial characteristics to picture. Was it more of a question of depth? This would be quite understandable; the goal was definitely to make it "hyper-realistic." I did earlier projects which focused on creating a more "life-like" image of the sounds but found that this tended to make the mix "boring." Speaking of which, the next thing I really want to try is to do this again, but in surround. I think that opening up the other four channels would be a very interesting experiment for a fully-synthesized FX stem - especially in terms of depth. |
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please disregard whatever jivverdicker says. he's chronically negative you know. |
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Depth is also a narrative tool, though. In a wide shot, if someone is opening a candy wrapper, super detailed crinkles gives a sense of intimacy (as if mic is right above) but also can give some omniscient distancing of the viewer and the subject due to the sound being inconceivably detailed. Rolling off the high end of the candy wrapper gives some z-space depth and a feeling of distance but also feeling of intimacy (watching from within the scene... realistic sound from where camera is standing). So both are valid-- intention dependent! |
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If you actually read TroutMasks reply Advocate you will see he/she understands what I said. It wasn't negative, it was reply to his request of "What do you guys think?". You stupid toilet. |
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