News Archives - Noisefloor Sound Solutions

Meet our Fall 2022 Interns!

December 16, 2022

We are thrilled to introduce you to our interns for Fall 2022. They’ve been brightening our office with their curiosity and enthusiasm and we can’t wait to see what’s next for this talented bunch!

DIVYA BAROD

Divya first got into audio after watching a video of foley artists recording bizarre sounds. They were making and recording sounds from things like wet paper towels and lettuce to ultimately match to scenes from Cloudy With a Chance of Meatballs and A Quiet Place. Divya was immediately fascinated by this fun and unique looking job! She looked into it more and learned about Sound Design, which seemed to open up limitless creative possibilities for her. She is currently studying Sound Design for Film/TV at DePaul University and is scheduled to graduate in June of 2023. In school she’s gained experience working on numerous class projects and student films. If you spot Divya nodding away enthusiastically at her computer, it’s likely she’s just created something she’s excited about. In her future work, Divya hopes to work on Sound Design for TV, film or video games, but she says she’ll be happy as long she’s creating some weird but pleasing stuff as a Sound Designer.

Check out Divya’a work here.

DENNIS CIMPEANU

Dennis’ start in the world of audio began at an early age with a love of music and video games. What began as piano and guitar lessons led to a desire to record and late nights playing Halo with friends snowballed into failed attempts to replicate the iconic sound of a gravity hammer using nothing more than a laptop microphone. Eventually, his curiosity would lead him to enroll at Columbia College Chicago to study Audio Design and Production. There he was equipped with a deep understanding of a unique set of disciplines, from recording to mastering to sound design. Dennis graduated from Columbia College in the Spring of 2022. Dennis aims high with the goal of continuously growing his skills and expanding outwards with the hopes of creating great stories through sound and bringing the same inspiration he felt growing up to others.

Find out more about Dennis’ work here.

ELLA PINCELOUP

Ella Pinceloup is a recent graduate of Columbia College Chicago with a Bachelor’s in Audio Design and Production. Having worked in audio archiving, music recording, and post production audio, she continues to build her skills. She has interned with the Studs Terkel Radio Archive, PRX (a podcasting company), WFMT Classical Radio, and now Noisefloor! For the future, she is looking forward to focusing more on post production audio and is excited to see where her journey as an audio engineer takes her.

You can keep up with Ella’s work here.

The Creative Process with Composer Devin Delaney

November 11, 2022

Devin Delaney is the perpetually working head composer of Noisefloor’s music department. As a creative, Devin brings a unique blend of versatile musicianship, technical skill, artistic openness, steadfast diligence, as well as a deep emotional intelligence as a storyteller. We had a chat with Devin about his creative process and how he works with clients, read it all below!

What is the first step you take on a new project?

Usually we start off a new project with a creative call where we talk about our scope, vision, references, dreams, aspirations, and maybe our general musical direction too. On more linear content, this can be extended into a spotting session where we dissect the film/spot/project scene by scene to make sure we are hitting all the right notes (literally and figuratively). We will talk through the different moods, instruments, and energies. Which helps us in establishing an outline or a roadmap for the score.

After that, my first step in my writing process is to start demoing out or sketching a bunch of musical ideas to share with the client.

Do you use research in your process? How is it helpful?

100% – everything we do starts with listening. Music streaming services are extremely useful for helping me do a deep dive into whatever I am creating. For almost every job, I create a corresponding playlist that I use to draw some inspiration from and study. It can be a constant point of reference for me when I am starting my day as well as when I get stuck. Personally, I think references are absolutely awesome to use, they really enable musicians and nonmusicians to communicate ideas. Music and creative direction can feel like different languages, so using references help establish some common ground.

How do you make sure that you and the client are on the same page?

Communication and transparency. We always try to get to a general understanding of where expectations, scope, and timelines sit. Making music can be a mysterious, multistep process. Helping a client know when is best to give feedback, at different milestones, can be absolutely critical to staying on schedule and budget. For example, if we are changing lyrics after recording the vocal session, we might be in for a bad time! So we really emphasize just open and honest communication about a given score/composition. When it comes to feedback, I often say, “Just be blunt.” That gut reaction can be rough around the edges, but its honesty is usually where the golden information resides. Our first swing isn’t always right, and we don’t ever expect it to be, but I didn’t get into composition because I like making music in a vacuum. I want to elevate the storytelling, make the clients happy, be challenged, hear different perspectives, and hopefully churn out some beautiful music in the process.

What are some things clients can do that are helpful to your creative process?

Well, outside of increasing the budget-so we can do fun stuff like getting instrumentalists, orchestrators, and singers-there are some very affordable and easy things a client can to do help a composer out!

Listening in the right context or environment can be super helpful. By their nature, demos are going to be rough around the edges, so then playing them on a terrible laptop or smartphone speaker isn’t going to do them any favors. It is like picking out your outfit with a blindfold on.

Additionally, creative changes / revisions are absolutely inevitable and are always expected, but efficiently communicating those changes in a timely manner is essential. We can make any change happen, it just takes time, money, and elbow grease. But when a change comes in crazy last minute, completely out of scope, or after recording sessions have happened – it can put intense stress on the elbow grease / human component.

Would you rather work on a project with a lot of creative constraints or a project with total creative freedom?

Ya know, I am just happy to work on a project. As a composer for multimedia, my #1 job is to help tell the story. So, I am acting both as an emotional thread for the viewer and as a kind of translator for the director/creative team. Taking their vision, direction, and creative – and turning it into a soundtrack. So if you have a strong vision share it, you are just going save everyone time!

As a collaborator, there is a game of trust going on – I want a director/creative to trust in my expertise, skill, and perspective – that’s ideally why they hired me. It’s amazing to get some freedom to experiment, use my voice as a composer, and really dig into doing my thing. But it’s the client’s baby, and they are signing the check, so their perspective is essential if I want to be a good collaborator. Then, no matter what, I think we should be actively thinking about the audience’s experience and perspective. So those multiple perspectives will undoubtedly influence our creative.

So in other words, some may view a bunch of creative constraints as limiting, while others may view it as having a defined vision. Musically, if we want a cohesive product, we are going to be building a sonic world and creating our own set musical rules that define it. So between the weight of those multiple perspectives and just the nature making music for something else, constraints are just part of the art form!

How do you deal with creative blocks?

Step outside, take a walk, go for a drive, wander around Target, lift a few weights, or just ingest some other media. Basically, if I can, I’ll take the time to step away and let inspiration strike. The amount of times I have gone home, started a game or movie, heard a brilliant cue, and went “Oh crap, that’s the vibe/instrumentation/whatever I was searching for!” – and all I had to do was stop working for a minute!

When time isn’t a luxury, it’s about roadmaps, good outlining, and relying on what works. The first thing I try to build in a scene is a sort of skeleton piece that functions as a roadmap. For example, if I’m doing something densely orchestrated I may just compose the basic idea with piano and cello patches, get the big changes in place, then start to get arranging and orchestrating later on. There is always work to be done on a given piece of music, so I may shift towards some easier tasks to keep the piece flowing. For example, if need a big epic brass melody over my mesmerizing strings to really sell a hero, but that melody just is coming along… I may shift over to percussion or some other support part, that I know needs to be done – get that out of the way, then move back to my problem section/area of the piece.

What is your favorite piece of equipment?

Admittedly, I am a bit of a gear head. There is always a new toy on the horizon that I’m obsessing about… so this answer changes frequently!

Today, it’s the Moog Grandmother – it has consistently found its way on almost every piece I create. I love how silly looking the color scheme is, the semi-modular patching cable mess is charming, and it just sounds good. It was one of the first hardware synths I splurged on, and really made me appreciate hardware synths like never before!

Devin's 75th Anniversary Deluxe Stratocaster electric guitar

I also have to mention my Custom Martin and Fender 75th Anniversary Deluxe Strat – I have a bunch of guitars, but I have had these two the absolute longest. They have been the source of so much music, so many recordings and took me from my highschool punk rock days in Oak Park to my undergrad at Berklee all through the past decade plus at NF.

What have you been listening to lately?

Turnstile has reignited my love of rock recently. I’ve also been listing to a lot of Genesis Owusu, Metric, and J Cole. I am just about to start A Plague Tale: Requiem. I am sure Olivier Deriviere’s score will be stunning – I absolutely loved orchestration and themes from the first game! And when my ears need a rest, which they often do, a quality podcast from The Ringer, Crooked Media, or the Last Podcast Network.

Meet The Mural

November 1, 2022

We are so excited to officially introduce you to our new mural! Sound Designer/Supervising Sound Editor/Partner Bryen Hensley first came up with the idea for the mural years ago. His idea was a mural that would celebrate our portfolio of work and our continued passion for video games. The mural would feature a collection of our favorite characters from video games we’ve worked on. However, the idea was put on the back burner when we suddenly had to relocate our facility to a new space last year.

After relocating and completing construction on our new space, it was finally time to bring the mural to life. Luckily, we didn’t have to look far for the perfect artist. Our composer Devin Delaney knew just the guy, his tattoo artist Rafael Corona. Creating a piece that put all of these characters from different games and franchises together into one cohesive work of art was no easy task. However, Rafael took on the challenge and transformed a boring, blank wall into one of the coolest things in our office. It has already become such a fixture in our space it’s hard to imagine we were ever without it. Check out Rafael’s mural painting process below!

Noisefloor's Mural Timelapse with artist Rafael Corona

Meet the characters!

CHARACTER: Master Chief

GAME: Halo

Master Chief Petty Officer John-117, or Master Chief, you may recognize as the protagonist in the military science fiction franchise, Halo. The Master Chief is a super soldier known as a Spartan. He was raised and trained from childhood for combat. He is almost faceless and rarely seen without his armor and helmet. The character is voiced by Steve Downes, a former Chicago disc jockey.

CHARACTER: 343 Guilty Spark

GAME: Halo

343 Guilty Spark is an artificial intelligence entity created by an ancient highly advanced species known as the Forerunners. Spark is known for his role as both a benefactor and antagonist of Master Chief and his allies in the series. Spark is voiced by actor Tim Dadabo.

CHARACTER: Cayde-6

GAME: Destiny

Cayde-6 is a character from Bungie’s Destiny video game series. Cayde-6 is an Exo, a highly advanced robot with the mind of a living human being uploaded into its consciousness. Like other Guardians, Cayde-6 is accompanied by a floating robotic companion called a Ghost and wields an otherworldly power called Light granted by the mysterious Traveler, progenitor of the Ghosts. Cayde-6 was voiced by Nathan Fillion for the majority of his appearances.

CHARACTER: Ghost

GAME: Destiny

Ghosts are floating machine entities slightly larger than a human hand. Ghosts have the ability to revive Guardians, like Cayde-6, from death. Every Ghost has one specific person they are meant to revive. When a Ghost revives their Chosen, they are bonded together from that point forward. Cayde-6’s Ghost was originally voiced by Peter Dinklage but was recast as Nolan North due to scheduling conflicts(or something like that).

CHARACTER: Stubbs

GAME: Stubbs The Zombie: Rebel Without a Pulse

Stubbs the Zombie in Rebel Without a Pulse is a reverse horror (that means you cause the horror) video game developed by Wideload Games and published by Aspyr Media. It was released in 2005, for the Xbox. In the game, Stubbs’ primary goal is to kill humans and devour their brains. Eating brains restores Stubbs’ health and converts the human into a zombie that will fight alongside Stubbs. Not only can Stubbs turn human characters into his own army of zombies, he can release toxic farts that stun enemies, toss grenades made out of his own guts, take off his head and roll it to bowl over enemies, and tear off his own arm to use as a club.

If any of that peaked your interest, the good news is, you can still play Stubbs the Zombie! In 2021 a remastered version of the game was published and released for PC (via Steam), PlayStation 4 and 5, Nintendo Switch, and Xbox One. This updated version of the game features modernized controls and introduces achievements and trophies.

CHARACTER: Konoko

GAME: Oni

Oni is a third-person action game released in 2001 and developed by Bungie West, a division of Bungie. Oni takes place in the year 2032 in a polluted, dystopian world where little remains inhabitable. The game introduced unique gameplay styles by blending third-person shooting with hand-to-hand combat.

As an elite member of the tech crimes task force, Konoko is an agent on a mission to fight the evil Syndicate. But things are not always as they seem … Konoko is haunted by unknown demons of her past, and the truth threatens to send her over the edge.

CHARACTER: The Hulk

GAME: Avengers Initiative

In Avengers Initiative the world is left in the wake of the mysterious cosmic phenomenon referred to as “The Pulse”. Sabotage within S.H.I.E.L.D.’s maximum security facility, The Vault, causes numerous monsters and villains to escape. In response to this crisis, Nick Fury calls The Avengers and sends them on individual missions to restore order. In the game, The Hulk is sent to a small town near the Rocky Mountains to capture the Vault escapees that have overrun the area. Avengers Initiative was a standalone game for Android and iOS developed by Wideload Games.

CHARACTER: Wonder Woman

GAME: Injustice: Gods Among Us

Injustice: Gods Among Us released in 2013 is a fighting video game in the Injustice franchise based upon the fictional universe of DC Comics. The game was developed by NetherRealm Studios and was released for the PlayStation 3, Xbox 360, and Wii U. In the game, Wonder Woman is described as, “Warrior through and through, Wonder Woman has no problem killing villains, or even other heroes, who oppose her and Superman.”

CHARACTER: Harley Quinn

GAME: Injustice: Gods Among Us

“Harleen Quinzel was a criminal psychiatrist, who was seduced by her patient: the Joker. She abandoned her career and became Harley Quinn, the Joker’s ditsy sidekick. Quinn is willing to do anything to please her “Puddin,” even murder.”

CHARACTER: The Joker

GAME: Injustice: Gods Among Us

“A chemical accident turned an unknown small time criminal into the Clown Prince of Crime, the Joker. More crazed killer than goofy clown, this super-villain’s only goal is to kill his nemesis, Batman.”

CHARACTER: SpongeBob SquarePants

GAME: SpongeBob’s Idle Adventure

SpongeBob is a childish, joyful, and clumsy sea sponge who lives in a pineapple with his pet snail Gary in the underwater city of Bikini Bottom. He works as a fry cook at the Krusty Krab, a job which he is exceptionally skilled at and enjoys thoroughly. SpongeBob’s Idle Adventure is a free-to-play game available on Android and iOS. In SpongeBob’s Idle Adventure SpongeBob and Patrick have gotten themselves into another pickle after playing with Sandy’s Vortex Machine…again! Only this time it’s not just themselves in trouble, it’s all of Bikini Bottom!

CHARACTER: Plankton

GAME: SpongeBob’s Idle Adventure

Plankton may not have been in our original design, but somehow he managed to scheme his way into our mural nonetheless. Sheldon J. Plankton, more commonly known as Plankton, is one of the ten main characters of SpongeBob SquarePants. He runs the Chum Bucket restaurant alongside Karen, a waterproof computer who is his sidekick and wife. The Chum Bucket is highly unpopular in Bikini Bottom because it serves chum, a type of bait made from fish meat. SpongeBob’s Idle Adventure is a free-to-play game available on Android and iOS.

CHARACTER: Leonardo

GAME: Teenage Mutant Ninja Turtles: Mutant Madness

Teenage Mutant Ninja Turtles: Mutant Madness is a mobile game developed by Synapse Games and published by Kongregate. It was released in 2020 for iOS and Android platforms. Leonardo, named in honor of the great artist of the Renaissance Leonardo da Vinci, is the most senior of the Turtles and typically presented as their leader. Among his brothers, he is the most ordered and disciplined. He is often depicted wearing a blue bandana in most media and wielding twin Katanas.

Do I Need a DCP? A DCP FAQ

September 8, 2022

What is a DCP?

A Digital Cinema Package(DCP) is a collection of files that allow movie theater servers to recognize and play your film on the big screen. The digital equivalent of a 35MM film print, DCP is a universal industry standard format used by nearly every modern movie theater, worldwide.

Do I need a DCP?

If you’re planning on screening your film in a theater, it’s likely you’ll need a DCP. To confirm check the delivery requirements of the theaters or festivals you plan to screen at.

What do you need to make a DCP?

To create a DCP we’ll need a final uncompressed video file of your film with a separate audio file.

Does the film need a 2-pop?

No, we don’t need a 2-pop.

How long does it take?

We typically take 3-5 business days to create a DCP but we can deliver as fast as the same day if needed(for an additional fee).

How is a DCP made?

It’s made on a DCP specific application that consolidates and rewraps the video and audio into the files that are necessary for playback on all major cinema servers.

How is a DCP delivered?

We have several options for delivery. We can send your DCP file in a digital download. We can also deliver your DCP in USB 3.0 thumb drive(shorts only) or a CRU package. You can receive your new DCP by mail or you can pick it up in person at our office.

What is a CRU package?

A CRU package includes a CRU Drive with 500gb HDD and padded pelican case. At additional cost we can include a CRU to USB converter(cinemas usually have this already).

How much does it cost?

For a short film(under 15 minutes) we charge $150 for a DCP with 2k video. For projects over 15 minutes we charge $10 a minute for 2k video. So a DCP for a 90 minute film would cost $900. You can view our full pricing details, including 4K and 3D options, here.

Why should I get a DCP from Noisefloor?

If you get your DCP from Noisefloor, not only do you get a high quality DCP, you get continued customer support. If you run into any issues with your DCP you can contact us and we can help you diagnose the problem. We also have all the facilities to thoroughly test and ensure your DCP is working before you get to the theater.

Ready to order your DCP? Get more info here or request a quote here!

Meet our Summer 2022 Interns!

August 5, 2022

We are thrilled to introduce you to our Summer 2022 interns. They’ve all been a joy to have around the office and we can’t wait to see what they do next.

Jordan Drummond

Jordan Drummond is currently a student at Columbia College Chicago, he’ll be a Junior this fall. He has been interning with our Music Department this summer. His journey into audio began with his love for music, which his parents instilled in him from an early age. Jordan’s parents encouraged him to learn play instruments, so he grew up playing clarinet, oboe and piano. He never really enjoyed playing instruments though, it wasn’t until he got his hands on his first DAW that he knew what he wanted to do for the rest of his life. Since that moment in 2017 he’s been steadily working to improve as an audio engineer by creating his own original music and working on various projects at school. According to Jordan, “My goal though is to become a full-time musician at the highest level, and quite frankly I want to change the world through my music, and I will win a Grammy. My time at Noisefloor has been nothing short of amazing, and I will be forever grateful for the opportunity they have given me.”

Check out some of Jordan’s work here.

Marianna Palladino

Marianna Palladino is a recent graduate of Columbia College Chicago who concentrated in post-production audio for film. Her lifelong background in music initially sparked her interest in audio, but as she began her film studies originally in picture editorial, she quickly realized her passion for the auditory world of storytelling and her love of both the simultaneously meticulous and heartfelt nature the craft of audio for film requires. Her goals professionally are to branch out into being a part of the sound design teams for television, commercial, documentary, and feature length films and to form meaningful partnerships with creatives in the Chicagoland area and beyond. She hopes to continue to build upon her artistry as a sound designer, but also delve more into Foley and being a re-recording mixer, and the ultimate industry achievement for her currently would to be a part of the post sound team for a popular television show.

See what Marianna’s been up to here.

Zoe Maddix

Zoe first became interested in audio through playing video games, specifically the Animal Crossing franchise. Her interest in creating sound for video games drove her to move from her hometown in Michigan to Chicago to study Game Audio Design at Columbia College Chicago. Zoe graduated this year as part of the class of ’22. “My journey in the industry is just beginning”, she says, “I’ve got a long way to go but my main goal is to be a part of fun original projects that others find joy in.” Within the industry Zoe aims to advocate for better accessibility and inclusion for those who currently can’t advocate for themselves. She also hopes to continuously learn and grow to find her style alongside all the other audio engineers in the field.

Learn more about Zoe’s work here.

Keep an eye out for this talented group! If you’re interested in interning with us, we’ll be opening up applications for our fall internship soon. Follow us on social media to stay up to date!