Sega/Marvel Game Trailer
Produced by Pendulum Studios, San Diego
Thor: God of Thunder
Length: Two minutes and thirty seconds
Total tracks: 70
Thunder and lightning hits: 37
Sound Designer: Gary Miranda
Well, there certainly was no lack of thunder in this trailer! I used 37 thunderclaps in the spot and there's also a massive rumbling storm element that builds throughout. All the thunder added an interesting element when it came time to mix, given that this was supposed to be more of a music and dialog driven animatic. Overall we ended up with 70 tracks, most of which were sound effects. The workflow was pretty straightforward. I started with dialog, re-syncing the original studio voice recordings to the low-res dialog supplied in the first animatic, then it was on to sound design which took about two weeks of pretty intense work. The dialog was recorded at another studio, so we had to work with the files that were supplied. In general, they were in good shape. There were a few significant tweaks we had to make on a few of the lines. Loki's voice initially sounded really muddy (too much low mid) so I took a bit of time to make it sound normal. For reverbs I started with halls and tweaked them to make fit the scenery (which of course we didn't get to see till late in the project!).
About sound effects....This is always a tough area with fast-turn animation. Initially we are not seeing everything in the sequence. Early versions of the spot were not rendered when they were sent over - so we can only see the general idea of what's going to be happening, and what the basic environment is, but all the detailed visuals come much later in the process. Most of my information about the environments and characters were from emails and conference calls in regards to what it would look like, and from there I would have to imagine what it would sound like.
For example, toward the end, Thor raises Mjolnir (his hammer) and shouts, "For Asgard!" In the early movies supplied, there was no lightning visible around his hands, no beam of lighting coming down from above, no real energy at all. I placed in pretty generic "power up" sounds and a bolt that would strike the hammer. Pendulum then gave us a more detailed verbal description of what it was going to be like. From that I was able enhance the placeholder sounds further, adding in more bolts and rumble, etc. It wasn't until we received the final render for that scene, I think the day before the project was due, that we could finally could see the detail of the intense power that was happening there. That was the first thing I worked on that final day spending a good 2-3 hours creating the vortex of lightning and looking back, I think this ended up being my favorite designed sound effect for the spot.
You can see from the wide shot of Thor and his father standing on the steps, above, that if you didn't know there was going to be a beam of lightning there it would be hard to know what sounds to apply. It's actually part of what makes working on animation projects so interesting. Watching the scenes come together at the very last minute is a pretty neat process that not a lot of folks get see. We worked with the team over at Pendulum Studios, and their work is amazing! It gives us an extra shot in the arm, as the projects are nearing the due date, to deliver sound design as spectacular as their animation. For example, this is how we knew Thor for the first three weeks of the project:
Only towards the end did we get the rendered version - quite a difference!
Another effect that I liked a lot was the audio that we used on the line, "For Asgard!" Yeah, I know it's more on the dialog side, but hear me out. The client initially gave us 7 or 8 different "For Asgard!" lines. After hearing our preliminary mix they wanted it bigger - but not just bigger, more like ten times the amount of soldiers. Instead of just adding reverb or delays or doublers, we had some fun in Studio C. Mark, his buddy Rich Williams, and myself recorded about 30 takes of various shouts of "For Asgard!", complete with English and Scottish accents. I comp'd those takes and completed the new improved Legion throughout the surrounds. That surely thickened the original 8 soldiers up, and Pendulum got the battalion they requested.
Music cues were taken from several clips supplied from the game, and these were pieced together to provide the orchestral music bed. There are 4 different pieces spliced together. Twenty points to whoever can tell me where the edits are, and bonus points if you can tell me where I used elastic audio to slow the music down to match the picture edit!
On mix-down, we delivered both a Surround 5.1 and Stereo mix. Down-mixing to stereo was probably the biggest challenge for this project. There was a lot of low end energy from the sound effects competing with the music. We delivered both sets of mixes as full mixes, and as stems (Dialog, Effects and Music). The final mixes were version 16 of our Pro Tools session, so we built and checked lots of reference mixes before delivering the finals. In the end we delivered a killer mix, the folks at Pendulum were happy and ultimately, I'm pleased with the final product!
Gary Miranda
Local San Diego radio personality George Rivera was in Studio C earlier this week cutting voice tracks for 5 Gum's "Vive Tu Musica" campaign. Bravo Agency, located in Chicago, was responsible for writing and producing the spots and they were connected into the sessions via phone-patch so they could interact with George on direction. We connected via ISDN to Sound Slave, also located in Chicago, for the voice record as they were responsible for compiling the final radio and television edits. 
