Issue link: https://digital.copcomm.com/i/1475409
Also, having Peter around was very reassuring, his comments were so effective and "ear-opening." Strangely enough, after the second week, I overcame my fear, and I think I am now immune! CM: Rana, are there any unique methods or processes you might like to share to the MPSE community in your editorial and sound design work? RE: The most important thing to me is the textures created by layers. Every Foley artist Marita Sbeih creating horror voices for the Lee Cronin film, Evil Dead Rise. scene becomes a composition with sounds. This way you can really work on the sound of the film as a whole composition, it helps giving more musicality to the whole film, and I discovered that it makes you appreciate the use of silence. This is something we tend to forget, the importance of silences. It gives the sound that is coming just after a huge impact. A thing for me that is very important is to avoid the stagnation of a normal room tone which can become annoying especially when the scene is long and has a lot of dialogue. I usually don't take "normal" recordings of room tones when I want to create a room tone for a specific place. I use a lot of voices and general hits and pitch them sometimes several times, as it gives a general tone with some movement. In doing so, the sound between dialogue allows you to feel like the space is moving. This gives dynamics to the scene, and even helps the dialogue. You feel that the actors are merging