That intern guy they assigned to the visitor Adam, is most likely pretty new. definitely sound like an intern or assistant. all you hear is blanket answers with "Yaa, you know, ya ya you know." I have been in the industry for 4 decades and I could have explained it a bit better. Several times Adam requested to be shown how its done, but the guy never really shows how its done but rather went on rambling & just toss up some random sound with his rant. Equipment being used in main studio is the AVID S6 console that is custom configured for that particular studio. With JL-Cooper surround controllers. AVID Pro Tools Digital Audio Work Station. Adams question "How does the session gets transferred from one studio to the other: Ansdwer: via shared network / EUCON Ethernet protocol. It gets saved in the small studio within Pro Tools Digital Audio Work Station. And since ALL the studios there are on a shared network, you can go to the main studio, and open the session in pro tools there and it will grab the session that was saved in the small studio and open it in the main studio, files and all. The sounds then have to be patched and lined with the console AVID S6 console, then leveled. Effects then gets placed on each channel that needs it for the particular sound that calls for it. By the way, both studios the small and large studio can be run at the same time (if need be) since its on the same shared network. You can control the small studio from the large studio if you wanted to, if that studio had certain outboard gear that the large studio didn't have in the room. There are some studios that have 4 main large separate rooms run at the same time for a session. This is usually done for extremely large orchestral sessions that may have more than 200 or 500 channels just for orchestra music not counting other instruments like guitars, pianos, bongos, tiakos etc etc thats not part of the actual orchestra. The AVID S6 can handle between 64 to 192 channels max just on 1 console but needs up to 3 audio engineers if it gets in the high levels like 192 channels. The AVID S6 can do ATMOS and Dolby surround sound. The music alone for movies can run anywhere between 100 to several hundreds & even thousands or more channels. Thats not counting all the special sound effects used for the movie. Then you have all the actors voices and voice overs for the dialog. Sessions can get extremely enormous. AVID lost 50% of its users due to AVIDs shady tactics & subscription model it imposed on its musicians in the music industry that those 50% of the people who left Pro Tools went on and moved to Presonus Studio One Digital Audio Workstation. Most of the most famous musicians stayed with Pro Tools because its been a industry standard for many decades, and movie film industry companies & studios also stayed with Pro Tools, again because its industry standard and it would be costly to move to another workstation software. not to mention studios infrastructure is in too deep to change. unlike musicians themselves, many musicians themselves have moved to Presonus Studio One. Also many film industry studios usually have used analogue style consoles. Such as the SSL and Neve Consoles like the Neve-5088 and Neve-R/S console or the SSL9000 / SSL4000 but now since everything is getting digital, companies & film industry have been using Digital consoles/controllers like the AVID S6 with large amounts of channels. Its much better and faster for recalling studio sessions. Unlike its analogue counterparts that would take several hours to recall. Digital consoles would take minutes.

mobile suit gundam sound fx on vinyl recommendation .. THX!

I've got 900 tracks up of dialog, sfx, and music. The key is organization! 🙂

@@gregh99 hi mate. all mixed itb? So all bussing and inserts are also being crunched?

@@vocalpro A two hour movie, split into two projects which are open at the same time: music composition, with 400 tracks of MIDI, VSTs, and soundfiles, then I copy the mixdowns over to the 500 track dialog and SFX project where I can stretch the mixdowns for better timing if needed. Both projects include video tracks for sync reference (transcoded to MJPEG for faster seeking). I've set up shortcuts to export stems and sub-mixes for director approval, but I can link in the original hi-rez video files and render a finished video suitable for upload. Using REAPER on a refurbished 8-year-old 16GB Dell Latitude E6540 laptop, with 4 external monitors. Maybe I could combine the projects into one, but there is benefit in having mental separation of roles - "composer" vs "dialog" and "sfx" and "mixer". For that matter, I could do video editing in these project files, but I guess there had to be something left for someone else to do. 🙂

@@gregh99 hold on, you do over 400 tracks on a laptop on reaper?

@@vocalpro Lol yes. 500+400 with both open in one instance of REAPER. Main timeline is about 4 hours wide (there are 4 reels), CPU at about 70% while playing main mix project, RAM 10GB of 16GB used. Internal 500GB SSD, external 700GB. 8 yo laptop.

Yeah when they were playing the Spiderman sounds I was surprised by how much more forceful and impactful they sound in isolation

The volume they are played at makes a huge difference too. I've been making sound effects for games, and hearing the sounds actually in the game, blended together nicely, is transformative in such a crazy way.

Yeah and sometimes the music drouns the sudddle layors. Man I'm totally nurding out. I'm all into this. I love nitpicking the audio to movies. But then again I'm blind so the audio has to really tell a good story to put me into the world.

He's a very well educated fan because of his pre-Mythbusters movie effects work 😆

@@edwardfletcher7790 absolutely. It’s more that everyone he talks to, he throws himself into their world with amazing enthusiasm!

DId you go to school for sound design? Just curious as I hope to enter the field

I think you have to be like that to do this kind of work.

When the audience doesn’t notice the sound FX, it means they did their job very well… so they’re very under appreciated; I’ve done it on a small scale and the process is just about the same. I can tell you, it would be VERY boring for you to spend your day watching us work. Because it’s often a long process to find THE good sound that will be heard maybe just 1 or 2s in a scene… so we can spend a whole day just for a 30 to 60s scene. So it’s good when you can quickly hear the final result, but it’s boring while you’re making it… mainly if you’re not a sound designer and you’re not used to audio montage. I think, the best thing for the audience would be to see a final scene and then deconstruct it to listen FX groups in an isolated situation. That’s generally the best way to appreciate the work, and also to see that a movie without any sound FX or soundtrack is actually really boring and not realistic at all. Soundtracks and Sound FX are easily 50% of the movie experience… sometimes just as important as Visual FX.

@@Spidouz yeah, I never actually took the time to appreciate the sound fx, but I’m soon to purchase Logic Pro to get into it

Sound Library Manager

Totally. Any database like this needs careful curation and metadata to be useful and avoid duplication of the same or similar sound. I'd love to see if they have a particular typology or controlled vocabulary for their sounds.

​@@MjStrwy Yes they have, it is called Universal Category System, created by Tim Nielsen himself at Skywalker Sound for that purpose. I think it is awesome and use it daily... You can search on youtube the videos where he goes in-depth about it. But the fact that they couldn't bother to properly explain the UCS when they're talking about metadata at the facility that uses it the most is just mind boggling to me...

Too bad the play-by-play announcers ruined it.

This was the first example I thought of for excellent sound design. Also the pitch of Vader's lightsaber ignition in Rogue One... that has to be deliberate.

It’s a Mac Pro

In big studios like this, there are separate processors that handle the DAW. Avid has HDX cards which are dedicated audio processors just like you have a GPU for graphics. So the load on the CPU is less.

Lol both comments above are completely wrong. The guy from the commented saying he uses an old Dell laptop.

I was thinking the exact same thing.

as a regular guy, I'm also totally digging this.

Sorry to hear that man, I hope you find some work! I'm planning on going to school for sound design/production myself.

Idk if he founded it but your talking about Matthew Woods who is a sound editor and indeed voiced Grevious, Battle Droids and also played Bib Fortuna in Phantom Menace and in the post credits of Mando S3.

A lot of the sounds will be in Dolby Digital 7.1

Databases? Hell yeah