Post Magazine

March 2011

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subtract time all over the place. That’s standard in film work, but it’s just compounded with a trailer when the timeframe is so short.” Ah, in a world where “picture lock, and we’ve got two weeks,” re- ally means “picture lock, and we’ve got two hours,” represents the in- dustry standard, it’s welcome agida to Kirchner and his Studio West crew in San Diego. “We’re seeking gaming like crazy, and we’re on the verge of cracking the egg of getting some in-game work,” he says. “Fortunately, there are a lot of gaming companies out here, so we’ll occasionally have an open house VIP tour of the studio, and it’s just a matter of personally inviting the directors of the audio departments at these gaming com- panies, and it turns out to be a fun, industry day sort of thing. I think the last two years all the game compa- nies have been tightening their belts, but they know we’re here.” It was through a local connection with Pendulum, an animation studio Studio West scored the trailer for Sega’s Iron Man 2. in San Diego, that generated the Iron Man 2 project.“We have a good re- lationship with them — we worked with them on Red Faction: Guerrilla — and they’ve got the connections to the game companies, and just us being nearby helped us.” The job from Marvel/Sega arrived with dialogue from the mocap stage, but no music.“On the stage they had an idea of how the trailer was going to go, so we had the dialogue,” says Kirchner, “but that was it.We com- posed the music and did the sound design, we got some sound effects from Sega/Marvel,we did some Foley, and there were certain sounds we had to use from the movie.” Marvel supplied music that was continued on page 47 March 2011 • Post 33

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