The creaking door sound in most Warner Brothers cartoons was made using a leather wallet. I was watching some retrospective on Clampett/Jones/Avery/Blanc et al years ago, and they were talking about how Mel Blanc hated carrots, but nothing sounded like a carrot being bitten but a carrot, so he'd bite and chew for the sound then spit it in a bucket. Then they started talking about the door effect, I'm pretty sure they used Hair-Raising Hare for the example, and one of them said he'd used an old leather wallet, bending it and making the parts squeek against each other, then a bit of post-processing.
The sound that ghosts made in Everquest 1 (the kind of vague chirping/whooshing sound) is in the movie Road to Perdition. I forget where in the movie it is exactly, but it's a scene where you're looking at a guy's feet or something as he's walking along a road.
I knew the Pizza Planet truck was in every Toy Story, but I had no idea it was in every Pixar flick ever.
Pixar throws a lot of references to their other movies in each film. Often there's something hidden relating to a film down the line as well since they're all being produced at the same time. Similar to the 1138 for Lucas and Speilberg you'll see A113 in every Pixar movie and in a lot of animated films / tv shows in general. It is a reference to classroom A113 at Cal Arts where a lot of the big names in animation went to school.
While not exactly an in-joke, the yellow-orange & blue color scheme is one of the most used in design. I remember seeing an image with a compilation of video game boxart, and it was ridiculous. And once you realize it, every time you see the color combo you just think "God dammit, there it is again! Dam you Mass Effect cover!"
Warm and amber are also the standard lighting colors used in theatrical lighting to create an ambient 'daylight' on the stage. And then you vary off of that going warmer or cooler for the time of day as you go on.
there were so many injokes at my theatre, but the best ones were our statue and grandfather clock that we put on every set (after we had made them for the first show) and the stuffed mouse that I (while props mistress) would hide on every set for the actresses to find.
Just browsing through netlix genres brings up obvious color usage. SCI-FI is all blue, romantic comedy red, ect. Just simple marketing and color psychology.
But yeah there are several sounds that pop up all over. Like the static sound a ghost makes when he used lockdown in SC1.
Don't ask me how I noticed this but I'm pretty sure the prolonged scream you hear when you click on a terran acadamy in SC is the same as the scream one of the bad guys from the film broken arrow when he's thrown out of a moving train and down a ravine.
That's really pretty much it. Unless a video game is inherently important to the story, all you need to know plotwise is that somebody is playing a video game. For us gamers, it's immersion-breaking, for everybody else they could not give even half a shit.
A lot of times audio recorded during a take is not suitable for the final product (pops, static, etc.). Or the game was played without audio so the actors could be recorded better. Oftentimes individual cuts from the same scene may be put out of order, in which case the audio may not sync up well with the picture. In those cases you're better off throwing in generic sound #43 than trying to match up sounds of machine gun fire with a weapon firing on-screen.
Outside of the technical realm there are legal issues. In-game audio may mostly stem from stock audio, but in some cases you may end up with dialogue or other copyrighted materials. Rather than risk exceeding fair use statutes you can just cut out the audio and try to make sure the game itself is as low-key as possible. But this often applies to visuals as well, so you cut out identifiable audio, iconic imagery and basically make it as dull as possible. This sounds ridiculous, but perhaps Lawrence Lessig can explain the nuance.
Here's a story: There was a documentary filmmaker who was making a documentary film about education in America. And he's shooting across this classroom with lots of people, kids, who are completely distracted at the television in the back of the classroom. When they get back to the editing room, they realize that on the television, you can barely make out the show for two seconds; it's "The Simpsons," Homer Simpson on the screen. So they call up Matt Groenig, who was a friend of the documentary filmmaker, and say, you know, Is this going to be a problem? It's only a couple seconds. Matt says, No, no, no, it's not going to be a problem, call so and so. So they called so and so, and so and so said call so and so.
Eventually, the so and so turns out to be the lawyers, so when they got to the lawyers, they said, Is this going to be a problem? It's a documentary film. It's about education. It's a couple seconds. The so and so said 25,000 bucks. 25,000 bucks?! It's a couple seconds! What do you mean 25,000 bucks? The so and so said, I don't give a goddamn what it is for. $25,000 bucks or change your movie.
The other option is your foley artist is a traditionalist or just wants to continue the recurring joke that video game audio in movies sounds nothing like modern video game audio.
That's really pretty much it. Unless a video game is inherently important to the story, all you need to know plotwise is that somebody is playing a video game. For us gamers, it's immersion-breaking, for everybody else they could not give even half a shit.
A lot of times audio recorded during a take is not suitable for the final product (pops, static, etc.). Or the game was played without audio so the actors could be recorded better. Oftentimes individual cuts from the same scene may be put out of order, in which case the audio may not sync up well with the picture. In those cases you're better off throwing in generic sound #43 than trying to match up sounds of machine gun fire with a weapon firing on-screen.
Outside of the technical realm there are legal issues. In-game audio may mostly stem from stock audio, but in some cases you may end up with dialogue or other copyrighted materials. Rather than risk exceeding fair use statutes you can just cut out the audio and try to make sure the game itself is as low-key as possible. But this often applies to visuals as well, so you cut out identifiable audio, iconic imagery and basically make it as dull as possible. This sounds ridiculous, but perhaps Lawrence Lessig can explain the nuance.
Here's a story: There was a documentary filmmaker who was making a documentary film about education in America. And he's shooting across this classroom with lots of people, kids, who are completely distracted at the television in the back of the classroom. When they get back to the editing room, they realize that on the television, you can barely make out the show for two seconds; it's "The Simpsons," Homer Simpson on the screen. So they call up Matt Groenig, who was a friend of the documentary filmmaker, and say, you know, Is this going to be a problem? It's only a couple seconds. Matt says, No, no, no, it's not going to be a problem, call so and so. So they called so and so, and so and so said call so and so.
Eventually, the so and so turns out to be the lawyers, so when they got to the lawyers, they said, Is this going to be a problem? It's a documentary film. It's about education. It's a couple seconds. The so and so said 25,000 bucks. 25,000 bucks?! It's a couple seconds! What do you mean 25,000 bucks? The so and so said, I don't give a goddamn what it is for. $25,000 bucks or change your movie.
The other option is your foley artist is a traditionalist or just wants to continue the recurring joke that video game audio in movies sounds nothing like modern video game audio.
Yeah, this is the same reason that all the Beavis and Butthead DVD releases don't have the music video segments. Same for the Daria DVD release. Licensing is bullshit, hands down.
But yeah there are several sounds that pop up all over. Like the static sound a ghost makes when he used lockdown in SC1.
Don't ask me how I noticed this but I'm pretty sure the prolonged scream you hear when you click on a terran acadamy in SC is the same as the scream one of the bad guys from the film broken arrow when he's thrown out of a moving train and down a ravine.
I just remember thinking it was familiar somehow.
It was also in Marathon, they used a bunch of stock sounds.
Raiden you are the best, I laughed for nearly ten minutes after that. That movie is so goofy in so many ways, so that sound effect fits pretty well I guess.
Posts
Daggerfall flashbacks!
A113 was what I came to mention:
http://en.wikipedia.org/wiki/A113
Don't forget that John Ratzenberger is also in EVERY Pixar movie to date.
Edit: I wasn't aware of Kubrick's: http://en.wikipedia.org/wiki/CRM114
3DS Friend Code: 0404-6826-4588 PM if you add.
http://www.youtube.com/watch?v=92LoQ51X8qY
I think I've heard it used in some non-Disney cartoons and movies, too.
Warm and amber are also the standard lighting colors used in theatrical lighting to create an ambient 'daylight' on the stage. And then you vary off of that going warmer or cooler for the time of day as you go on.
there were so many injokes at my theatre, but the best ones were our statue and grandfather clock that we put on every set (after we had made them for the first show) and the stuffed mouse that I (while props mistress) would hide on every set for the actresses to find.
Democrats Abroad! || Vote From Abroad
You can actually hear it in this right at the beginning with the lightning
http://www.youtube.com/watch?v=_5svP9Wu0nk
http://www.youtube.com/watch?v=CSec8iTWQ7U&feature=related
Don't ask me how I noticed this but I'm pretty sure the prolonged scream you hear when you click on a terran acadamy in SC is the same as the scream one of the bad guys from the film broken arrow when he's thrown out of a moving train and down a ravine.
I just remember thinking it was familiar somehow.
A lot of times audio recorded during a take is not suitable for the final product (pops, static, etc.). Or the game was played without audio so the actors could be recorded better. Oftentimes individual cuts from the same scene may be put out of order, in which case the audio may not sync up well with the picture. In those cases you're better off throwing in generic sound #43 than trying to match up sounds of machine gun fire with a weapon firing on-screen.
Outside of the technical realm there are legal issues. In-game audio may mostly stem from stock audio, but in some cases you may end up with dialogue or other copyrighted materials. Rather than risk exceeding fair use statutes you can just cut out the audio and try to make sure the game itself is as low-key as possible. But this often applies to visuals as well, so you cut out identifiable audio, iconic imagery and basically make it as dull as possible. This sounds ridiculous, but perhaps Lawrence Lessig can explain the nuance.
The other option is your foley artist is a traditionalist or just wants to continue the recurring joke that video game audio in movies sounds nothing like modern video game audio.
It was also in Marathon, they used a bunch of stock sounds.
Raiden you are the best, I laughed for nearly ten minutes after that. That movie is so goofy in so many ways, so that sound effect fits pretty well I guess.