Cloud Atlas - congratulations Frank Kruse!

[the19thbear]

Thanks a lot for the explanations!
I do sound design myself and would love to get some tips and tricks from pros like you (I do sound design on Legos "ninjago" series and Star Wars tv series called "the yoda cronicles").
In the futuristic world with somni - how did you go about making the scifi swooshes for the hover craft/motorbike chase scenes? I'm always looking for ways to make my swooshes to be better:) any specific plugins you use? (I use the Doppler from waves and the new swoosh tool from tonsturm (forgot the name..).
Thanks!

[Frank Kruse]

Originally Posted by the19thbear

Thanks a lot for the explanations!
I do sound design myself and would love to get some tips and tricks from pros like you (I do sound design on Legos "ninjago" series and Star Wars tv series called "the yoda cronicles").
In the futuristic world with somni - how did you go about making the scifi swooshes for the hover craft/motorbike chase scenes? I'm always looking for ways to make my swooshes to be better:) any specific plugins you use? (I use the Doppler from waves and the new swoosh tool from tonsturm (forgot the name..).
Thanks!

Hi,

those were created with quite a few layers of elements. We recorded a ton of electric field sounds using modified guitar pickups that I then worldized with a quickly panned MS-Stereo boom. I pitched the original both up and down before worldizing. The resulting recordings went through further treatment. As I wrote before S-Layer became a big friend. Also iPad based synths like animoog and more exotic stuff like 'Curtis' etc. The gun-ships contain lots of animoog based sounds that I simply "performed" live to picture and then treated further.
Many of the musical B/Gs in sonmi's safe-house and the papa-song's restaurant were also done that way.
The base sound for the skiff were field recordings we had the chance to record at the BMW plant in Munich. It was a prototype back then which had a quite unusual whiny sound I hadn't heard before. They let us record it in the BMW test track and in their testing lab.
The fly-by elements are pretty much real world recordings of cars, doppler honks etc.

There's not really one set of tools I can name.

Frank.

[the19thbear]

Thanks:)

[FajitaTone]

Frank, your work on the movie is impressive. My wife and I thoroughly enjoyed all of the little nuances in the transitions and in the overall design. GREAT sounding movie.

[MIKEROPHONICS]

Hi Frank a BAFTA shortlist for RUSH! Its been a great year for you!

best of luck (can't possibly tell you who I voted for in Round 1).

BTW - Cloud Atlas wasn't given out as a screener DVD which could explain why it wasn't shortlisted (erroneously). Just saying…

[Frank Kruse]

Originally Posted by MIKEROPHONICS

Hi Frank a BAFTA shortlist for RUSH! Its been a great year for you!

best of luck (can't possibly tell you who I voted for in Round 1).

BTW - Cloud Atlas wasn't given out as a screener DVD which could explain why it wasn't shortlisted (erroneously). Just saying…

Thanks Mike! Yes, it's been really exiting for the entire team and all feel very honored indeed. It's pretty incredible!
No idea what happened with the CA-screeners there, sorry.

Cheers,

frank.

[ilter]

I'm curious about the time it took for you and your team to complete your work for this film.
Also, how a 'typical' day is spent - are we talking about 8 hours a day with the lunch and coffee breaks? :)
And also, do you usually deal with one project at a time, or are there other tasks/films simultaneously worked on?
Thanks a lot for the info, and congrats!

[Frank Kruse]

Originally Posted by ilter

I'm curious about the time it took for you and your team to complete your work for this film.
Also, how a 'typical' day is spent - are we talking about 8 hours a day with the lunch and coffee breaks? :)
And also, do you usually deal with one project at a time, or are there other tasks/films simultaneously worked on?
Thanks a lot for the info, and congrats!

Hi,

our post-schedule went on for about 9 months but the main team came on three months after I started. So around the 'usual' 6 months for films of such scale.
Workdays ranged from regular to insane as usual :roll eyes:

This might seem a lot especially in the continental european context (for an average local theatrical feature here we normally have 6-8 weeks of sound editing) but if you look at temp-mix requirements and versions flying at you etc. on films like CA plus it's length it's not really a huge timespan for the work that needs to be done. Which is why I started much earlier even while they were still shooting.

Personally, I avoid overlapping projects at all cost. For me working on a film has also something to do with living in the film's state of mind and era and it takes a while to adapt to that 'planet' and then walk the walk. At least for me. It's a bit like boarding a ship that leaves the harbor for a long trip.

frank.