At Sound Disposition we pay particular attention to the subtle art of supporting the image. Through careful layering of complex atmospheres and also subtle soundscapes (along with the usual bangs, whooshes, explosions and crashes!) we aim to shape the audience’s subconscious appreciation of the narrative through sound design.
We believe every project should have a unique and original sound, and therefore we insist on sourcing our own sounds for each film we work on. On Shadow Dancer, this involved spending many hours gathering fresh recordings for the scene on the London Underground, in addition to trying to find a train whose beeper was not functioning properly so we could get a clean recording of a closing door. For The Sweeney we spent two days recording on a race track with some very fast cars!
We have some wonderful tools available for sound design, including:
- Multiple Avid ProTools 12 HD suites, all with 5.1 monitoring
- Hundreds of plugins by Avid, AIR, SoundToys, Waves, AudioEase, DMG, Antares, Sonnox, Eventide, Izotope and many more
- Access to a meticulously catalogued sound effect library (over 4tb and growing) which includes many hours of custom recordings
- Hardware synthesisers by Nord, Yamaha, Korg and others
- An assortment of unusual instruments
- A huge range of microphones and sound-gathering equipment for sourcing original sounds
By default we tracklay in 5.1, and so can deliver in Protools format or as stems, with or without processing.