{"id":6398,"date":"2023-07-13T01:48:05","date_gmt":"2023-07-13T01:48:05","guid":{"rendered":"https:\/\/tsugi-studio.com\/blog\/?p=6398"},"modified":"2023-08-21T06:40:55","modified_gmt":"2023-08-21T06:40:55","slug":"trailer-video","status":"publish","type":"post","link":"https:\/\/tsugi-studio.com\/blog\/2023\/07\/13\/trailer-video\/","title":{"rendered":"Sound Design for Action Trailer"},"content":{"rendered":"<p>A recent tutorial focused on the design of <a href=\"https:\/\/tsugi-studio.com\/blog\/2023\/04\/25\/cinematic-sound-design\/\">cinematic<\/a> sounds with <a href=\"https:\/\/tsugi-studio.com\/web\/en\/products-gamesynth.html\">GameSynth<\/a>. In this post, we continue our foray in the world of trailers and use the synchronized video playback feature introduced in GameSynth 2023 to help us produce a wide range of sounds that match the action trailer below.<\/p>\n<p><a class=\"litymp3\" href=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/06\/trailer\/1_top.mp4\" data-lity=\"\"><img decoding=\"async\" style=\"border: 1px solid #ccc;\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/06\/trailer\/1_top.png\" alt=\"\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<h2 class=\"tsugiblog-blackheader\" style=\"margin-top: 40px; padding: 22px 18px; max-width: 670px; background-position: right center; background-repeat: no-repeat; background-size: contain; letter-spacing: 0.05em; color: #ffffff; background-color: #000000; background-image: url('https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/06\/trailer\/header-bg1.png');\">Motion Design<\/h2>\n<p>Two patches were designed to produce the sound of the opening blast visual effect:<\/p>\n<ul>\n<li>The first layer is a whoosh combining the <strong>Fire<\/strong> and <strong>Thunder<\/strong> modules. These generators are sent through <strong>EQ\u00a0Filters<\/strong> whose <em>frequencies<\/em> are modulated by <strong>Envelopes<\/strong>, adding a sense of movement to the sound (and attenuating the attack of the <strong>Thunder<\/strong> module).<\/li>\n<li>The second layer is more impactful, with a tonal component generated by a <strong>Chaos<\/strong> module, and a bass drop produced by a <strong>Mega<\/strong> <strong>Saw<\/strong>. Once mixed, they go through a <strong>Saturator<\/strong> that makes the sound punchier, while a <strong>Spectral<\/strong> <strong>Delay<\/strong> adds more resonances. The movement is similarly created by modulating an <strong>EQ Filter <\/strong>with an <strong>Envelope<\/strong>.<\/li>\n<\/ul>\n<p><a class=\"litymp3\" href=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 01 Blast.mp4\" data-lity=\"\"><img decoding=\"async\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 01 Blast.png\" alt=\"\" \/><\/a><\/p>\n<p>Whooshes were also created to animate the transitions between each shot of the trailer. They are all based on variations of the same patch. The video player was really helpful to quickly time each transition correctly.<\/p>\n<ul>\n<li>The patch generating the whooshes uses a <strong>Noise Bands<\/strong> module &#8211; with a single, low-frequency band -, and two <strong>Noise<\/strong> modules, producing <em>Pink<\/em> and <em>Brownian<\/em> noises. <strong>EQ Filters<\/strong> and a <strong>Flanger<\/strong> are used to add movement, and the <strong>Envelopes<\/strong> were adjusted to match each transition.<\/li>\n<li>A tonal bass layer adds more presence to some of these transitions, in which case the <em>Brownian<\/em> <strong>Noise<\/strong> is replaced by a <strong>Beam<\/strong> module set at a low frequency, and some of the processing modules (<strong>EQ Filter<\/strong> and <strong>Flanger<\/strong>) are moved to process only the noise branch.<\/li>\n<\/ul>\n<p>Another patch was used to generate swishes for the effects on the texts.<\/p>\n<ul>\n<li>This patch is much simpler with only a <em>Pink<\/em> <strong>Noise<\/strong>, a <strong>Biquad Filter<\/strong>, a <strong>Flanger<\/strong>, and a <em>Sine<\/em> <strong>LFO<\/strong> as main modules.<\/li>\n<li>By simply tweaking some of the parameters such as the <em>rate<\/em> of the <strong>LFO<\/strong>, the <em>type<\/em> of filter or the <strong>Envelope\u2019s<\/strong> <em>curves<\/em> and <em>duration, <\/em>we were able to generate all the sound variations we needed.<\/li>\n<\/ul>\n<p><a class=\"litymp3\" href=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 02 Motion Design.mp4\" data-lity=\"\"><img decoding=\"async\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 02 Motion Design.png\" alt=\"\" \/><\/a><\/p>\n<h2 class=\"tsugiblog-blackheader\" style=\"margin-top: 40px; padding: 22px 18px; max-width: 670px; background-position: right center; background-repeat: no-repeat; background-size: contain; letter-spacing: 0.05em; color: #ffffff; background-color: #000000; background-image: url('https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/06\/trailer\/header-bg2.png');\">Vehicles<\/h2>\n<p>The video contains a wide range of vehicles but thanks to GameSynth\u2019s versatility it was possible to generate everything we needed:<\/p>\n<ul>\n<li>The helicopter and airplane sounds are produced by patches from the repository (\u201cStationary Helicopter\u201d and \u201cRocket Passby\u201d) that we slightly modified. For the helicopter patch, we wanted to put the emphasis on the rotor sound, so the levels of all the tonal components were lowered. As for the plane, we simply edited the <strong>Envelopes\u2019<\/strong> curves, changing the global duration to match the shot in the trailer, and slightly reduced the <strong>Doppler<\/strong> effect.<\/li>\n<li>The <strong>Sports Bike<\/strong> and <strong>Sports Car<\/strong> vehicles of the <strong>Engines<\/strong> plug-in were put to contribution for the other vehicle sounds, after adjusting the level of the various components in the mixer. In the case of the bike, we also used the <strong>Weather<\/strong> model with a wide <strong>Rain<\/strong> zone to simulate the friction on the wet road.<\/li>\n<\/ul>\n<p><a class=\"litymp3\" href=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 03 Vehicles.mp4\" data-lity=\"\"><img decoding=\"async\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 03 Vehicles.png\" alt=\"\" \/><\/a><\/p>\n<h2 class=\"tsugiblog-blackheader\" style=\"margin-top: 40px; padding: 22px 18px; max-width: 670px; background-position: right center; background-repeat: no-repeat; background-size: contain; letter-spacing: 0.05em; color: #ffffff; background-color: #000000; background-image: url('https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/06\/trailer\/header-bg3.png');\">Character Movements<\/h2>\n<p>Several patches were created to highlight the character\u2019s movements.<\/p>\n<ul>\n<li>The first two focused on the cloth Foley. They both use a <strong>Noise<\/strong> <strong>Bands<\/strong> module as their sound source. The generators are sent through different filters though: the first patch is brighter and follows the entirety of each movement, while the second exhibits a lower tone, providing more presence and adding some extra emphasis at the peak of the motion.<\/li>\n<li>Whooshes were added to amplify the sense of movement. A patch similar to the one designed for the transitions was used.<\/li>\n<li>Finally, the footsteps were created using the <strong>Footsteps<\/strong> model. We used the <strong>Leather<\/strong> shoes, and layered both <strong>Concrete<\/strong> and <strong>Carpet<\/strong> surfaces to muffle the sounds a bit, so that they would not be too distracting.<\/li>\n<\/ul>\n<p><a class=\"litymp3\" href=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 04 Character Movement.mp4\" data-lity=\"\"><img decoding=\"async\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 04 Character Movement.png\" alt=\"\" \/><\/a><\/p>\n<h2 class=\"tsugiblog-blackheader\" style=\"margin-top: 40px; padding: 22px 18px; max-width: 670px; background-position: right center; background-repeat: no-repeat; background-size: contain; letter-spacing: 0.05em; color: #ffffff; background-color: #000000; background-image: url('https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/06\/trailer\/header-bg4.png');\">Music Sequence<\/h2>\n<p>Finally, even though GameSynth is not intended to be used for composing music, it remains relatively easy to create a simple Synthwave sequence that fits this type of short video.<\/p>\n<ul>\n<li>We used two <em>Saw<\/em> <strong>Oscillators<\/strong>, one octave apart, to create a bigger sound.<\/li>\n<li>An <strong>Arpeggiator<\/strong> is used to drive the pitch of the oscillators, resulting in a 4-note sequence that plays until the beginning of the car shot.<\/li>\n<li>When the <strong>Arpeggiator<\/strong> module stops, the state of the <strong>Mute<\/strong> module switches, triggering a final, longer note.<\/li>\n<li>An <strong>EQ Filter <\/strong>with a bit of resonance completes the patch, increasing the intensity gradually via its slowly rising frequency.<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><a class=\"litymp3\" href=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 05 Music.mp4\" data-lity=\"\"><img decoding=\"async\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/GameSynth Action Video Blog 05 Music.png\" alt=\"\" \/><\/a><\/p>\n<p>Thanks to GameSynth\u2019s video playback feature and its new tool API &#8211; that allows for a deep integration with popular DAWs (Reaper, Protools&#8230;) &#8211; the benefits of procedural audio can be leveraged to design sound effects that perfectly synchronize to the picture.<\/p>\n<p><a class=\"download-patches\" href=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/07\/action_trailer\/Trailer_Video_GameSynth_Patches.zip\"><img decoding=\"async\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2022\/04\/download-patches2023.png\" alt=\"download-patches\"><\/a><\/p>\n<p><a class=\"gs-learn-more\" href=\"https:\/\/tsugi-studio.com\/web\/en\/products-gamesynth.html\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2020\/06\/2020_06_Introducing-Modular-Weapons-Modules-banner-1.png\" alt=\"GameSynth\" \/><\/a><\/p>\n<p><a class=\"gs-learn-more\" href=\"https:\/\/discord.com\/invite\/hacFY2EmgF\"><img decoding=\"async\" src=\"https:\/\/tsugi-studio.com\/blog\/wp-content\/uploads\/2023\/04\/discord.png\" alt=\"discord\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A recent tutorial focused on the design of cinematic sounds with GameSynth. In this post, we continue our foray in the world of trailers<\/p>\n","protected":false},"author":1,"featured_media":6408,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,12,6],"tags":[],"class_list":["post-6398","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-procedural-audio","category-tutorial","category-gamesynth"],"_links":{"self":[{"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/posts\/6398","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/comments?post=6398"}],"version-history":[{"count":19,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/posts\/6398\/revisions"}],"predecessor-version":[{"id":6471,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/posts\/6398\/revisions\/6471"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/media\/6408"}],"wp:attachment":[{"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/media?parent=6398"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/categories?post=6398"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tsugi-studio.com\/blog\/wp-json\/wp\/v2\/tags?post=6398"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}