Big transcription
Andrew Stanton :
When i was coming up with their idea my? new Wall-E will be a big space action film so egally? unique sound design was an absolute necessity to given to the sci-fi of it. And so you starting who the ex done that before and really it’s just Ben Burtt
Ben Burtt :
Every sound designers has to create some several worlds in sound and of course it’s most inspiring when the whole movie essentially requires an original new world of sound
Jim Morris :
Ben has won many academy awards doing sound and sound design. This is a perfect f?? he worked in Star Wars movies.
Andrew Stanton :
He’s the father not only R2D2 but of all the sounds in the Star Wars universe, the Indiana Jones universe and thank godness he said yes.
Ben Burtt :
I spent lots of time recording a lot of sound effects. We need the all kinds of crashes and mechanical sounds. Most of the all kinds. And when I was on Ebay I found an army radio generator ?? of the need sound ??? use on high speed
Andrew Stanton :
It was such a tree to work with them. It’s really hard to keep it together when you work a hero like that
Ben Burtt :
I think what appears ?? the most about Pixar is that with so many good people here people just so talented I don’t know how they do it may the sound seems so much better to me when I saw with the animation and I said myself privately you know “Uh pretty good stuff !”
Jeff Earley :
We usually start out with a brainstorming session to come up with the every considerable sound we can think of with a couple of guys doing mellow and once you cut a brainshout and someone says something and then somebody says “hey what about this ?” and then create the whole underline of thought and one idea will lead to another idea and then to another idea and those were brainshouten and keep going in. End up with the end of the day with my half-fifty thousand sounds we can go through and to cut the figure out which ones gonna go to the library
Micheal Mavrikios :
My plan was to just accumulate as we go. Collect sounds constantly and some of the best sounds that I captured were, it’s just so happen is the right word. For example, I give you an example. For sound fx III when we thought about the whether effects, when we were doing the plan, all I said is : “Florida hurricanes season”.
Jeff Earley :
Working with Mavrik on the sound effects librairies have been great because he has the real passion to go out to the field and do things that some other people might not do like sitting awaiting on the perfect lightning strike.
Micheal Mavrikios :
I’ve had all the recording equipment with me at the house one day and it’s just so happen, it was the perfect timing, there was a huge thunderstorm coming through and I could hear it for the long it’s timing back I could hear all these lightning strikes for the distance. So immediately I just grab my pole in my equipment and I just jump on the roof of the building and waited out there and until I got close to about a hundred strikes and lot of those, some of them I was just so close and so intense that it makes …
but the fact is that I need to get those sounds, bottom line, and sometimes you just got to go, you know, a little crazy.
Michael Ocampo :
My name is Micheal Ocampo and I’m the lead mixer at this … I’ve been actually mixing record as a DJ for fifteen years and, you know, I’ve just been toasted around and I thought that scratches would be really cool sound effect to add you know a category to add into the … for editors to use in productions. I live, eat and breath and mix, and listen audio day and day out.
Scott Davis :
Hi my name is Scott Davis and I’m the audio engineer for ??juice. With sound fx III I primarily did the coordination of sound effects to the animation so just jump backs and motion design element. Working on each animation has his own unique details that I had to really pay close attention to. Each one has his own feel and his own personality that has his own, uh.. It becomes a live when you apply the sound effect to it.
Mike Brassell :
hi, Mike Brassell, your record worship music and I can attribuate vocal waves?riffs? to sound fx III. For vocal riffs? what we think was that the mind behind vocal riffs really was to give our user the ability of be able of picking choose different types of ad libs that you would normally have to maybe hire a singer for but you need some nice vocal stab, vocal… So we try to come up with the nice list of what of vocal list could do and of course it was the booth. When you get in there it’s a inspiring kind of thing because you hearing something in your head and want to lay it down so you ask engineer … and let you go and you do your thing so you kind of surprise that something is came out but I like it, I enjoy this … effect.
Sam Allison :
My name is Sam Allison, I’m the mixing engineer for ??juice and for sound fx III I recorded the music elements. For sound fx III we got together and we just found some instruments that would complement our librairy our existing librairy and just intruments that we could really go for the acoustic sound and the actual sound of the instrument and just focus on different playing styles and I had the spanish guitare player playing some flamenco jazz style and we had to …. some mountain style and we had violin do some classical and … do some .. grass and just catching some different styles of music with the instruments we had.
