Recording Arts - School of Film and Television
Loyola Marymount University
Office: Xavier Hall, Room 326
You're probably surprised to see
a webpage with such a shocking lack of eye candy. Some of that is due
to my lack of good HTML chops, but mostly it's because I really prefer
the plain style of hypertext and simple links. Also, I don't think
bandwidth should be wasted. There is a lot of "bandwidth clutter"
on the web these days, where people with slower connections are just
out of luck because even
the most basic information takes forever to load. This could be avoided
if people would just use the simplest tool for the job.
Now that the cranky preamble is
out of the way...
First, the usual boring stuff:
Then moderately interesting
Some Short Writings:
Sound Effects Recording Sessions:
Sound Post FAQ
Again, this little guide to sound
was written with LMU students in mind, although it may be
relevant to film students elsewhere or any independent filmmaker
working with Final Cut Pro and Pro Tools. Here we deal in such
esoteric stuff as:
Some obsolete stuff:
Hypertext Tutorial for Pro Tools version 5.1
Time marches on, and so do software versions, and so this tutorial is hopelessly out of date. At one point I was approached by a publisher to revise and update this material into yet another Pro Tools book. The thought of re-doing all those screenshots, just to have them become obsolete when version "x" rolled out, caused me to give up on the whole idea of software manuals. At least hypertext saves a few trees and gives you some degree of interactivity. In any case, I wrote this as a basic intro for LMU students who are just beginning to work with Pro Tools LE systems. It does not assume any extensive audio or computer knowledge. While there are occasionally specific references to the way that LMU's systems are set up, others have found it to be useful as well, and I welcome anyone interested to take a look. A fast internet connection is helpful; there are a lot of screenshots. You'll also need to substitute some of your own audiofiles to play around with rather than the files accessible by my students.
Lastly, something truly interesting:
Since the late 70's, a number of people working in post-production sound have become fairly well known, if not to the general public, then at least to those with a serious interest in film. People like Walter Murch, Ben Burtt, Randy Thom, and Gary Rydstrom have given numerous interviews and won scads of awards. (If Rydstrom alone wins any more Oscars he'll have to rent storage space.)
But there is another group of sound professionals, equally dedicated and talented, who began their careers just a bit earlier and laid the groundwork for those that followed. And I'm particularly interested in these sound editors and their artistry because they are relatively unknown outside the world of sound editing and mixing.
I'm especially pleased to have gotten an interview with Fred Brown.
Note: I had planned to do a number of such interviews and -- barring
my usual lapses
into lethargy -- some may still happen. Of course the problem is that
most sound supervisors don't have a lot of free time to humor me by
wading through my long list of questions.
I'm also interested in information on a couple of sound editors who have had woefully little attention in print -- specifically Tregoweth (Treg) Brown, who edited all the classic Warner Bros. cartoons of the 40's and 50's, and Winston Ryder, who was the sound editor for most of David Lean's pictures as well as films like "2001." If you have leads on these two men that you'd like to share, please drop me an email.