Thank you so much, Braden! I've learned a ton from this breakdown! I guess you don't see much potential from creating more content at the moment or maybe just don't have enough free time, but if you are going to continue, it would be great to see some creatures, sci-fi scenes, vehicles or robots sound design. By the way maybe creating a Patreon account would be more interesting, I'm personally happy to pay $10-20 a month for a couple of videos like that.
thanks for the feedback! more videos are on the way, I promise. I'm going to be uploading more sound design examples/breakdowns of my own work - no need to pay, the knowledge should be free :) it's been difficult to find the time as I'm supervising the sound design for a new AAA title, but I promise I will try my best to get some good stuff out there for you all
Awesome! Thanks so much, I was looking for a channel like this. I’ve been using libraries for years and I totally agree that it’s gonna sound better 90% of the time. Please keep uploading stuff and it will be nice to see something about your workflow specifically! Greetings from Colombia
Hi Braden, I wanted to respond your closing thoughts on this video about whether or not it's too over the top. I recently redesigned my first few scenes (last one was a Star Wars space battle), and since I didn't have music in the background, it also tended to be over-the-top when I referenced back to original similar scenes. You mentioned in the video that you might want to do a film one and I would really be interested in how you think/listen for how to be more minimal, but staying impactful in the midst of music and dialogue... more so from an high level, workflow standpoint (what needs sounds? what doesn't? how to pan different sounds?) (rather than specific technical tricks like, say, dynamic EQ). I noticed some movies (and definitely games) have weird panning to my ears with headphones. I usually layout all the tracks and name them per the sounds I want, then fill them in - but seeing how you noted where to put transients was a great little tip that I'll try to do add to my workflow.
Hey Colly! So sorry just saw this comment. For film action scenes, what you'll notice is it's very pick-and-choose with which SFX play in the mix. If you want an example of a well-done scene that has high action and no music from a film, check out the race scene from Ready Player One. What you'll notice in a scene like that, is it's all about focusing on the story moments of each shot. Don't worry too much about what you'd "literally" hear from the camera's perspective, but rather what the director wants you to focus on... what "point" is being made with that shot. That kind of thinking will take you a long way in terms of high level decision making :) Cheers!!
Hey Braden , i have one question , if u use a sfx without the right of the owner , but it just for layering a bunch of the other sfx ,still risk to be copyright even if the pitch/lenght (and occasionaly timber due to layering) have changed the sound ? (sorry for my english , btw i'm asking that bc someon give me some sfx but i dnt know if i can use them )
Awesome videos, was curious when it comes to the boom libraries do you recommend getting the construction versions if you can afford it or just go with the designed ones?
Hey Brandon, it's a tough call really. If you're still just learning then it's definitely best to get the construction kit libraries as you don't want to get used to and rely on fully pre-designed files, though using bits and pieces of the design libraries is good to. I'd say start with construction kit and eventually try to grab the design files for whichever of the libraries you find yourself using the construction kit from most often!
Awesome video - very inspiring! One question: how do you decide when to put compression on a particular sound and how much? Do you compress sounds just for the purpose of making them louder?
this is a tricky question, it really comes down to experience. knowing what a good 'FX stem' sounds like in a mix, helps you make this decision. the only times it's an obvious decision to me is when I have a sound that's just far too dynamic, aka a metal resonance ring that doesn't last long enough, smashing it with a compressor and then turning it down can make sure that metal tone sticks around long enough for the FX moment. things like that! A good way to check dynamics is to turn your output volume wayy down, this let's you truly hear the sound for what it is without any human in-ear compression happening due to loudness. hope this helps!
@@rampagearon97 thanks! haha yes, the bigger the better right? ;) Cars are indeed very difficult to master. I myself don't have too much experience designing cars, have only cut a handful of driving sequences in my time. I can help show how to make car design sweeteners, but taking car engine recordings and processing them correctly (usually involves mixing & combining 8-10 tracks of onboard mics, and 1-4 pairs of external mics) is definitely not my expertise. I can probably get it "good enough" (depends who you ask) if I had to, but definitely don't feel confident enough to teach others about that stuff!
I appreciate you taking the time in sharing with us. This is what I looking for!
Thank you
glad it's helpful!!
Thank you so much, Braden! I've learned a ton from this breakdown!
I guess you don't see much potential from creating more content at the moment or maybe just don't have enough free time, but if you are going to continue, it would be great to see some creatures, sci-fi scenes, vehicles or robots sound design. By the way maybe creating a Patreon account would be more interesting, I'm personally happy to pay $10-20 a month for a couple of videos like that.
thanks for the feedback! more videos are on the way, I promise. I'm going to be uploading more sound design examples/breakdowns of my own work - no need to pay, the knowledge should be free :) it's been difficult to find the time as I'm supervising the sound design for a new AAA title, but I promise I will try my best to get some good stuff out there for you all
This is awesome Braden! Thanks for posting this.
yes, dude.
Awesome! Thanks so much, I was looking for a channel like this. I’ve been using libraries for years and I totally agree that it’s gonna sound better 90% of the time. Please keep uploading stuff and it will be nice to see something about your workflow specifically! Greetings from Colombia
Thanks Ivan! Glad it's of value to you and appreciate the kind words :)
Hi Braden, I wanted to respond your closing thoughts on this video about whether or not it's too over the top. I recently redesigned my first few scenes (last one was a Star Wars space battle), and since I didn't have music in the background, it also tended to be over-the-top when I referenced back to original similar scenes. You mentioned in the video that you might want to do a film one and I would really be interested in how you think/listen for how to be more minimal, but staying impactful in the midst of music and dialogue... more so from an high level, workflow standpoint (what needs sounds? what doesn't? how to pan different sounds?) (rather than specific technical tricks like, say, dynamic EQ). I noticed some movies (and definitely games) have weird panning to my ears with headphones.
I usually layout all the tracks and name them per the sounds I want, then fill them in - but seeing how you noted where to put transients was a great little tip that I'll try to do add to my workflow.
Hey Colly! So sorry just saw this comment. For film action scenes, what you'll notice is it's very pick-and-choose with which SFX play in the mix. If you want an example of a well-done scene that has high action and no music from a film, check out the race scene from Ready Player One. What you'll notice in a scene like that, is it's all about focusing on the story moments of each shot. Don't worry too much about what you'd "literally" hear from the camera's perspective, but rather what the director wants you to focus on... what "point" is being made with that shot. That kind of thinking will take you a long way in terms of high level decision making :) Cheers!!
Hey Braden , i have one question , if u use a sfx without the right of the owner , but it just for layering a bunch of the other sfx ,still risk to be copyright even if the pitch/lenght (and occasionaly timber due to layering) have changed the sound ? (sorry for my english , btw i'm asking that bc someon give me some sfx but i dnt know if i can use them )
Awesome videos, was curious when it comes to the boom libraries do you recommend getting the construction versions if you can afford it or just go with the designed ones?
Hey Brandon, it's a tough call really. If you're still just learning then it's definitely best to get the construction kit libraries as you don't want to get used to and rely on fully pre-designed files, though using bits and pieces of the design libraries is good to. I'd say start with construction kit and eventually try to grab the design files for whichever of the libraries you find yourself using the construction kit from most often!
Awesome video - very inspiring!
One question: how do you decide when to put compression on a particular sound and how much? Do you compress sounds just for the purpose of making them louder?
this is a tricky question, it really comes down to experience. knowing what a good 'FX stem' sounds like in a mix, helps you make this decision. the only times it's an obvious decision to me is when I have a sound that's just far too dynamic, aka a metal resonance ring that doesn't last long enough, smashing it with a compressor and then turning it down can make sure that metal tone sticks around long enough for the FX moment. things like that! A good way to check dynamics is to turn your output volume wayy down, this let's you truly hear the sound for what it is without any human in-ear compression happening due to loudness. hope this helps!
This is not at all over the top. Don’t dumb down any of your videos please! Keep it up!
Maybe do a car video. Cars are so hard and complex
@@rampagearon97 thanks! haha yes, the bigger the better right? ;)
Cars are indeed very difficult to master. I myself don't have too much experience designing cars, have only cut a handful of driving sequences in my time. I can help show how to make car design sweeteners, but taking car engine recordings and processing them correctly (usually involves mixing & combining 8-10 tracks of onboard mics, and 1-4 pairs of external mics) is definitely not my expertise. I can probably get it "good enough" (depends who you ask) if I had to, but definitely don't feel confident enough to teach others about that stuff!