Issue link: http://digital.copcomm.com/i/44580
f555f5f5ff5f5≠ Roundtable MUSIC & Sound Library SMOKEY CLOUD Assistant Sound Editor, 20th Century Fox www.foxstudios.com/post_production_services.htm Los Angeles Using canned sounds and making them your own. By Randi Altman RANDY DEFORD Whether you work at a small audio post studio or a large facility, a project will arise that calls for a canned sound effect or music… it's inevitable. If they had their dru- thers, budget and time, audio pros would create their own effects and do their own composing, but in this world of condensed budgets and deadlines, libraries play a big role. That doesn't mean these pros don't tweak, add and change those canned offerings to make them their own. POST: Most pros would like to use custom sound effects and original music for their projects, but it's not always possible. Do you use them often? SMOKEY CLOUD: "True. Here in our shop we strive to use almost exclusively unique sound effects on our shows. The primary use for our sound libraries are for temp effects for picture departments, and on the rare occasion our master library doesn't have what we need." For this Versus project, Max Holland used sound effects to contrast the beauty and struggles that riders face in the Tour de France. RANDY DEFORD: "Yes, extensively. As a musician who adapted into video as a means to combine music with images, both music and effects are a part of every project." RON DICESARE: "I use them on just about every single project I work on. The Napoleon Group is a typical post house where our two audio rooms are set up for voice recording and mixing rather than full-blown music sessions or recording custom effects in a Foley pit. So we turn to our libraries for music and sound effects to create the audio we need on just about everything we do." MAX HOLLAND: "I use stock sound effects at least once per project, that's why having a large and diverse library is so important." POST: What types of projects do you use music and sound effects libraries offerings for? 36 Post • October 2011 www.postmagazine.com MAX HOLLAND Chief Audio Engineer, The Production Plant http://theproductionplant.com New York RON DICESARE Senior Audio Engineer Ultra-Sound, a division of the Napoleon Group www.napny.com New York Filmmaker/Post Producer, Oak Road Multimedia www.oakroadmultimedia.com Monticello, IN of their schedules to participate in this month's roundtable. These audio pros took time out