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Beatcan.com is your one-stop solution for Royalty-free Music, Sound Effects and everything else you may need for audio in your digital productions of any kind. All audio files are custom ordered, are made by professional producers. Once you download a file, it is yours to keep and use forever. ROYALTY WORLD PRODUCTIONS FREE CLASS WWW.BEATCAN.COM Beatcan-PostMag.indd 2 2015-03-05 22:39 AUDIO FOR ANIMATION Insanoflex, an exercise machine that transforms itself into a giant one- eyed robot. For that character, he experimented by securing mics near both ends of a PVC tube, inserting fireworks and lighting them. "I actu- ally didn't know what was going to happen. I just shot fireworks through it to see what I would get. It created these amazing long twisted fiery sounds that we used in building the Insanoflex's footsteps." After years of working on Aqua Teen Hunger Force, Kohler has amassed an extensive collection of custom recordings, which he layers with library effects in Pro Tools 11 to create new sounds. He uses Sound- miner for sound library management. "Every time I've done Foley for the show, even if it seems nominal at the time, I put it in my library of ATHF sounds. If I need to Foley a sound, it's because it doesn't exist in any li- brary," says Kohler. For example, they had to build and record a potato gun. After purchasing supplies from Home Depot, they consulted the In- ternet for assembly instructions. "We just hoped the potato gun didn't explode when we fired it," confides Kohler. "We went through a bag of potatoes just firing them straight up into the air. I don't know where they landed. They would just go up until you couldn't see them anymore." TINKER BELL AND THE LEGEND OF THE NEVERBEAST Tinker Bell and the Legend of the NeverBeast is the sixth full-length film in the DisneyToon Studios Tinker Bell series. The story diverts away from Tinker Bell and focuses on the exploits of animal-talent fairy Fawn, who befriends a strange and surly creature lurking in the woods sur- rounding Pixie Hollow. This series' installment is noticeably edgier than its predecessors. "Director Steve Loter showed me dozens of storyboards, and visually you could see the palette was different," says supervising sound editor Todd Toon, who worked on the two previous films in the series. "It was a little darker and bolder, and he wanted the sound to match." He notes that Loter was curious to see how the existing palette of Pixie Hollow sounds could be transformed to fit this new, alternate world. "Throughout the process we heard the phrase, 'This isn't your father's Tinker Bell,' and that became our mantra." Toon worked alongside his sound design team of Martyn Zub and Char- lie Campagna at the Formosa Group, located on The Lot in West Holly- wood, CA (www.formosagroup.com). The Formosa Group's award-winning audio post talent serves film, broad- cast, commercial and interactive clients. They have several locations in California, including the recent- ly-opened Santa Monica facility, formerly home to POP Sound. Toon reports that one major focus for director Loter was the voice of the Never Beast character, Gruff. There was an early discussion about whether Gruff's vocalizations would be performed by a character actor or whether his sound would be achieved solely through sound design. "That meeting took place before there was any animation at all. At that time we were able to look at a very primitive animatic of Gruff, because he was the primary focus of the meeting," says Toon. "That was about as early as you can get involved." For an early cut of the story sketch, Gruff's sounds consisted of an actor's vocalizations, which were performed wild and then pieced to- gether to work with the images. Toon used the actor's voice as a template for his sound design version of Gruff's voice. "Steve [Loter] really wanted to see what it would sound like with animal sounds, and if we could make that work and still have the emotion," explains Toon. Working with three image sequences that adequately represented Gruff as angry, happy, and sad, Toon went through a lot of experimentation to discover which animal sounds best conveyed Gruff's emotions. He cut together some Supervising sound editor Todd Toon.