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SAE Magazine 13-3

spense, intensified by the ing moments. s sound designers / foley creative work in a dynam- n in a film. ge for engineers who also h the API FMOD Designer. e recordings is not that dif- oley for films or radio plays. ut for is that this sound is rhythm, such as an event. grammer and the models, oley production into a cor- ch the programmers could The environment and ambience on the sound list was divided into object-related and basic back- ground sounds. For example the object-related background noise was defined through the buzzing of lamps and con- tinuous beeping and the noise from the surround- ings with draughts. These were continually looped throughout production. Also on the sound list were ‘hits’, which are the sounds made upon impact when the player hits something. Here the team took wooden and metal objects and hit them against rigid plastic, wood, glass causing them to break. They also struck sheet metal, iron and a concrete wall. There was also a clear difference between the im- pact of a torch and the butt of a rifle against a con- crete wall and against glass which we wanted to show. Actors, the second key factor, needed sound effects which included jeans ripping, leather jackets creak- ing, the sound of footsteps. ➤ INDEX ero heroes! Photo:SAEInstituteCologne Patient Zero sound design

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