![]() Most orders are shipped via USPS First Class Mail, but some are shipped via Priority Mail, depending on size and/or weight of the package. ***Please be sure you have supplied me with your correct and current mailing address! Items return to me by the post office because of invalid addresses will be subject to a 10% restocking fee, and shipping costs will not be refunded. Please contact me prior to purchase is you have any questions. I will send you a notice with a tracking number when your items have shipped. Your patience and understanding during these times is much appreciated.Īll items will be very carefully packaged so that your purchase reaches you in perfect condition. >SPECIAL NOTICE<< Please note that the mail system is not running quite as smoothly these days due to the COVID-19 situation, so your items may take a little longer than usual to reach you once I mail them. I try my best to stick to this schedule, but due to life being unpredictable I may occasionally have ship on different days. They speak to various practitioners from films, TV, games and songs about how they’re using developing image and audio technologies in their latest projects.My current shipping schedule is Tuesdays and Fridays. Podcast-wise I’m currently listening to ‘Sound + Image Lab’ by Dolby, which is very geeky but also very interesting. Dragon landscape. tv#I’ve always been a fan but since seeing their set Glastonbury (on TV sadly) I’ve had them on my headphones constantly. Harry Boyce: I seem to have Wolf Alice on repeat at the moment. It was thoroughly rewarding to see how the companies worked together to overcome obstacles and problem solve – the end result is one we can all be extremely proud of. Min Yu: The collaborative nature of this project meant there was constant communication between the Mill and Factory. Dragon landscape. archive#With such an extensive archive of existing material to reference, it was awesome to have the chance to put my stamp on the world of creature sound design. James Utting: I’m sure most designers would agree that being able to create dragon sounds from the ground up is a dream project. What were the most enjoyable aspects of working on this project? We believed this was imperative to fully reap the rewards of having two prestigious creative companies teaming up like this, and it truly maximised the end user experience. Working closely with their creative directors, producers, artists and developers, our team seamlessly integrated into their production workflow and pretty much became an in-house audio extension for them on this project. DracARys gave us a perfect opportunity to show off this new skillset and collaborate like we’ve never done before with long standing partners, The Mill. Mike Hill: With the new addition of Audio Developers at Factory we have increased our scope to clients to not only create highly immersive sound design, but to integrate this audio into real-time environments to ensure true authenticity in the final mix. How did you and The Mill team work together? This offered variety whilst keeping the amount of audio assets under control, a vital factor in the optimisation of mobile-based apps. Once created, each sound was split into its constituent elements and systems were built to randomise these clips with variable pitch and volume. Harry Boyce: To offer an exciting and non-repetitive sonic experience the intention from the start was to have the audio as adaptable as possible, and therefore no dragon will sound the same as another. It was interesting to dissect and reassemble the sound in this manner to ensure the user hears exactly what we want them to hear. For example, the duration of a roar or a dragon breathing fire is undetermined and to make this sound authentic we split the sound design into three distinct segments, all triggered at specific points during the animation’s start, middle and end. James Utting: It’s a more methodical way of designing sound where you must think further than just the curation but also how audio will be triggered in the app, especially with procedurally generated animation. You recently worked on the HBO ‘House of Dragons’ app, what were the main considerations when crafting the sound design? ![]()
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