sound effects editors

[martian]

well its sort of music business-y

well just business-y then - but with respect to james who's iron will has turned the forum into a better place - not sure where to post

I'd like to ask how many up here sometimes /lots of time / make some crust doing gigs other than music?

I have made music - heck I even got some royalty checks - but its not often these days - I do get lots and lots of sound editing work tho..

any one else interested in this aspect of DP business?

thanks

[MIDI Life Crisis]

I also do a lot of sound design in addition to music in DP - often double duty as Composer / Sound Designer for theater and concert dance. For film you can add in sound editor and dialogue editor from time to time. Frankly, I love doing sound design. It's so much easier than composing.

[martian]

yeah me too - and it is easier than music in some ways..

I always love to work after the music - or in effect mixing and making - sound design can do stuff that music cant - it can be so subtle.. of course the boinks and farts can be fun..

Foley is amazingly slow and detailed - but in the end rewarding...

My big problem is that work loads vary so much - and so few people use dp in this respect-

altho I actually prefer DP over PT - 2 simple reasons - faster than quicktime - means I can save time on sending work to be mastered ( DOLBY ) I suppose that point is mute - if both studio have PT and same plug in..

but actually DP still saves time - as we check the stems whilst mastering - and outputing D M E in realtime would be agony!

But the clip gain- thats my primo love! also a massive time saver!

I'd love to get a built in browser for SFX and loop location - or just give a hook to allow 3rd party - if it's not "bling" enough for MOTU to do inhouse

[audios]

Hey All-

Well, I advertise myself as a sound designer first and composer second. I tend to get a lot more work as a sound editor than composer because i truly feel that there are fewer real pros in sound design than scoring. Plus anyone with a MIDI controller, VI's and a MAC with DP or Cakewalk can now call themselves "John Williams" sound alikes. Mark Isham once said that the producers and music editors he works with always say one of three things when it comes to getting a composer; Get me John Williams, Get me someone who sounds like John Williams or his favorite, Get me Mark Isham.

Sound editing was my first audio love back in the 70's when I cut radio spots on analog 1/4". (Still have the razor blade scars to prove it) Finding, recording and creating sound for film is a gratifying experience. When you spot that perfect cue that no one thought possible. Or work on a live foley stage as the stripes and markers fly by on the screen. Great fun.

I think people are both amazed and take us for granted. They assume that Panasonic HD camera with built-in stereo mic is great production audio, until they edit. Then they coming screaming for dialog editors to "clean" up their PA. And they all think it must be easy and take very little time and money invested in equipment to finish sound in a film. Because honestly, they sometimes think this all just happens somehow. magically hearing the polished sound track is an amazement. And, most of them still don't think it's worth more than a deferred contract or a cup of Starbucks and credit.

Wish they would have a number of mandatory classes in all film schools that teach proper budgeting, the value of location audio and composers/sound editors have to pay rent and eat too. But I do diversify and have moved into titling for film and some DVD authoring. Helps fill in the blanks between those hi-paying sound editor/composer gigs