Past Issues

Learn by Doing
Ensuring that the studios confidently navigate the ever-changing market, especially during the ongoing Covid challenges, Cara Sheppard talks to us about how she will ensure Twickenham Studios are positioned to continue to lead the way as one of the most important Film and TV studios in the world.

 

Diversity in Post Sound

Emma Butt discusses the findings of her research into diversity in the sound industry that she undertook for the Sir Lenny Henry Centre for Media Diversity. Expecting her findings to be disappointing, she was not prepared for just how disappointing they were. This report is just the first step in her aim to make the scheme a reality through investment and helping people from all diverse backgrounds have a successful and sustainable career in post production sound.

 

Communication between Disciplines
Having worked 12 years in the games industry, Grace Docksey tells us why one of the most difficult parts of the job is communication. Whether it’s talking to a programmer about designing a system to replicate car engines, getting stuck into a brainstorming session for a brand-new character or even deciding where to go for location recordings, communication is key to the process.

 

It’s all Elementary
Sarah Sherlock, composer and sound designer and known for her work on None but Myself, and Sneaky Bears VR, talks to us about how she got into game audio and developing her first person indie horror game - AmpHead.

 

Women Who are Sound

Women Who Are Sound is a voluntary group set up by Anna Sulley and Anna Bertmark as a network for women and gender minorities who are working in, or studying, sound for Film, TV and Interactive Media. WWAS encourages collaborations and sharing resources which benefit those who work across, film, TV production and post sound, broadcast and games.

 

Studio Profile - 5A Studios
Nestled amongst Camden's historic pubs, hip cafes, and cocktail bars and global eateries sits 5A Studios. Founded 16 years ago to offer sound post production services, we speak to its owner Cris Aragón about her journey of building the business.

Featuring in this issue:

 

Extreme Audio - We caught up with Watson Wu, award winning American composer, sound designer, and sound effects recordist. Known for recording power boats, high end sports cars, motor bikes, military vehicles and guns he talks to us about capturing extreme sounds for film, T.V. and games.

 

Creating Sound Effects for Games - Paul Boechler, Sound designer at E.A. Games and Ashton Mills, Audio Designer at Jagex discuss creating sound effects for games. 

 

Studio Profile - We take a look around Brown Bear Audio and find out why its one of the most successful remotely set up post production houses.

 

My First SFX Library - Paul Stoughton, Audio Lead in the Immersive Audio department at Skywalker Sound talks about his first SFX library and creating something that would stand out as unique and useful amidst the overwhelming array of libraries that already exist. 

 

FaceCap and VoCap - Keith Arem, CEO of PCB Productions, discusses how facial animation has historically been a challenge for games. Since dialogue often comes late in game development we find out how he has pioneered FaceCap and VoCap to take the pain out of the process.

 

WFH, What Have We Really Learnt? - We have all been working from home but what have we actually learnt and what new ways of working will we continue to use going forward? We caught up with David Robinson Head of Audio at Creative Outpost, Voice Over Artist Paul Rose and Thomas Dalton owner of Brown Bear Audio to find out.

Featuring in this issue:

 

Cinematic Audio - With a shift towards hyper-realism and delivering cinematic experiences in games we speak to Supermassive Games and Frontier Developments about creating cinematic audio for game play.

 

Pushing the Boundaries of Creativity - We catch up with award winning composer Nainita Desai about the challenges she encountered during lockdown and her new found ways of working.

 

Studio Profile - We take a look around Creative Outpost and find out why its one of Soho's most successful post production houses.

 

Mixing More Immersive Soundtracks - Mark Angus, award winning Sound Designer and owner of Gladestock Studios, tells us more about mixing immersive audio for games.

 

Transferable Skills - Robert Mann, Sound Designer at Supermassive Games gives us his insight into taking the leap from post production to game audio.

 

Keeping it Real - Tim Nielsen, Supervising Sound Editor, Sound Designer and Re-recording Mixer at Skywalker Sound discusses his approach to sound design for film and games.