The Stage 32 Videos: Sounddesigner

Layering in some lower register synth to fill out this frequency spectrum of music. I am using Native Instruments Ashlight, and modified the sound to my liking. Currently I am doing the sound design, and score for this feature true crime/supernatural documentary.

Hello Stage 32 community! I had to make a "sound design only" quick reel for a potential opportunity, but it was so much fun to work on these 2 films. I truly love the creative process of sound design. Horror comes naturally to me, because I've been watching horror for over 30 years. When VCR's first started entering more homes, my dad picked up a couple of movies on VHS at the local gas station, and one was A Nightmare on Elm Street, the other one was called The Slayer (1982). This film at the start shows that you can make any object an ominous subject, even a sewing machine. When she is running through the forest, you can still faintly hear the sewing machine churning away. I wanted to make it sound distant, and abstract, existing in a different realm. What I did was I used a machine sound like you would hear in a factory smashing down. I pitched shifted it down, slowed it down a bit, rolled off the high frequencies, and sent reverb to the track.

Hello filmmakers! Even if you are not a sound designer, come grab my free HQ sound effects. The link is in the video tutorial description.

A little test run video of future possible "how I do it" kind of thing for sound design, music, etc. This is part of a music library I am writing with a "Crime TV" feel.

One of the main ideas and challenges for me was to record the soundtrack only from the tools and materials of our craft designer. ⠀ I recorded everything: a cutting mat, scissors, a stationery knife, paper, pencils, wooden sticks, matches, glue and marker caps, plasticine, drill and much more. A huge amount of material that needed to be selected, to throw out unnecessary and to figure out how to make it sound like a whole. ⠀ At some point, the rhythm section became more or less clear. But something still lacked, some tonal sounds. Then the idea was born to take a piece of aluminum wire, pull it between the chair legs like a string and extract the sound by a guitar picker. I sampled the recordings and made them into a melody, harmony and bass. In the end, it all came together! CREW: Cinematography by Den Seleznov Production by Olga Mykhalets Editing by Mariia Skarb Sound Design by Igor Bondarenko Foley artists - Mariia Skarb and Andrey Petrenko Art Direction by Anna Seniuk Craft design by Natalia Kuzmina Designers - Oksana Scherbakova and Andrey Petrenko Photography - Anton Shevchenko Backstage - Igor Atamanchuk