Issue link: https://digital.copcomm.com/i/1512183
M OT I O N P I CTU R E S O U N D E D I TO R S 65 sound control panel level without changing the prototype chain. Using the control panel, modules, and modulation, these can be combined in different sequences, use internal samples or switch to live signal processing directly from Pro Tools or Soundminer. This became possible when we integrated Kyma into our Dante network and the APU became accessible via ethernet networking. This configuration allowed us, in a relatively easy manner, to add the desired color which isn't in the usual plugin palette, though, I must admit, without opening Kyma for a month, recalling all the nuances of this universe isn't so straightforward. A very intriguing opportunity was in developing a tool in Kyma, allowing for the complex sound generation— using a Wacom tablet—of realistic samples of horse hoof gallops, from one up to four at once, adding to the basic hoof sound the sound of wooden flooring or cobblestone, snow, mud, breath, gear, etc. The tool automatically transitions from trot to canter or from canter to gallop depending on the stylus' position. Doppler effect, approach, and retreat can also be controlled by moving the stylus across the tablet. We mainly use this in our TV series work. Following this concept—to focus primary efforts on key sounds—we concentrate manual editing on the horses of the main characters, while more secondary ones are done much faster with Kyma. We were also developing a tool in Kyma to generate various wind sounds, though due to the conflict, our principal developer colleague was forced to leave for Thailand, so there hasn't been time or resources to resume this development. Another point of interest was an article written by Mark Mangini discussing his many years of Natalia Zueva performing an artificial rain sound on various surfaces in the CineLab Foley Studio. Moscow. 2016, Atmosfera Studio © Above: Kyma instrument for horse movement design by Ivan Chepurin. 2021, Atmosfera Studio ©