Lots of sound design going on in the post/editing.

The real audio was "BZZZZZZZZZZZZZZZZZZZZZZZZ" the whole time.

wiki link to Foley Sound

I was going to say; I wonder if it is a continuation of old radio show sound design, and it is!

I think there will always be a place for it just like the acoustic piano. There are too many variables and our subconscious is too in tune with sound that a digital sample will ever be enough to trick us. MAYBE they will get there but I can always hear when they use digital instruments in music.

Simply not true. Will you get some directors using cookie cutter sound templates? Of course... bad ones. Hell, Bay reuses entire shots in his movies (often in the same damn franchise).

But good filmmakers will hire good sound designers and they will create good sound with what they have available.

Computers are a tool, nothing more. Digital sound is no different to digital imagery... people say they hate it, but they only hate BAD examples of it.

Can foley survive? Short term, maybe; long term, unlikely.

Fundamentally, it'll come down to the same question as any other technique in any commercial artform... cost vs quality. If foley remains the best way to get a sound, you will find people willing to pay for it. As digital sound creation gets better and better, there WILL come a point where no-one can tell the difference.

If you don't believe me look at guitar amplifiers. For decades, guitarists have preferred old vacuum tubes (known as valves) to generate the sound they want in a guitar amp. Digital (commonly referred to as solid state) amps are cheaper and generally pretty crap.

But these days, even people who love valve amps (and I include myself in that) have to admit that it's almost impossible to tell the difference between a genuine valve amp and a good computer model of the same (side note for guitar techy people... I know modelling != solid state).

And that's not just in playback, it's in live performance too. A kemper or an AxeFX FEELS like a valve amp, and you can vary the settings like a valve amp.

I believe that foley will ultimately go the same way. People like Wes Anderson will continue to use it, but for most filmmakers on a budget, they'll go with the sound creation software.

For the insane price of the board, they should have done better sound design on the video. When the one guy starts talking about 30 seconds in, the music is so loud it is hard to hear him.

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Plug this in to a VR headset and a pneumatic chair and you'd be in for a hell of a ride.

Also, how great was the sound design in Aliens 1, 2 (SE) and 3 (Assembly Cut Obvs)? The maternal self destruct voice from the first movie never gets old.

Comment hidden because you are ignoring dag. (show it anyway)

So good. Sound design/ foley was amazing.

Wait, where was the "thesis" stuff? By my count, it was back story, budgets, sound design choices, movie sets, casting and stunts. In other words, facts about the film's production without any theorizing about the significance of pop culture, hidden messages or other common themes in Cracked After Hours

great CG, decent kid acting, I would see the full length version if they make one.

Only complaint was the aliens sound design - was way too much like the Predator, which is so iconic, it automatically conveys malevolence. I'd prefer to hear something more original for this creature.

That is some phenomenal sound design. I hope that's indicative of the release quality.

This is actually a brilliant example of the power of sound design and why most people consider sound to be 50% of a movie.

I too find it quite annoying to be thrown out of a movie upon hearing the Wilhelm scream. It might of been a funny inside joke years ago amongst sound designers, now it just seems inevitable and annoying. Although I'd suppose I'd rather have this, if nothing else for the sake of variety.

Wow. Amazing footage. Turn the volume up - the sound design in this piece is quite good (though I doubt very authentic).

Radio: My favorite discovery of 2012 is "Radio Lab", a story telling show reminiscent of another favorite, 'This American Life', but with a much more sophisticated sound design. All episodes are available for free in the podcast section of iTunes.

Music: I fell in love with the New Orleans second line scene after Issy and I paid a visit to the crescent city this year. We saw the 'Rebirth Brass Band' live and had a great time. We also had a mini-meetup at the show with @dotdude. New Orleans music culture is like no other.

Music: Louis Cole & Genevieve Artadi: Highly unique and energetic electro-acoustic music. Hard to explain.

Music: Austin Texas band 'The Black Angels' - Dark, bluesy rock obviously influenced by the Doors. To be honest, I'm not crazy about blues rock or the Doors, but 'The Black Angels' manage to meld these influences into something I really dig.

Music: UK band, 'Metronomy'. Their sound is eclectic, hooky and heavily influenced by all the cool British 80's bands I loved as a kid. Goes down easy. Works in the background as well as the fore.

Movies: Django and Looper were the two films that captivated me from start to finish. Both films by gifted auteurs, one at the top of his game, the other on the rise. Great writing. Great Directing. Great performances.

Horror movies: The Cabin in the Woods (A clever and absurd meta-horror mashup) and the The Lady in Black (A classic, classy ghost story) both satisfied. It's nice that there were a couple of diamonds in sea of Paranormal-Activity-esque-found-footage detritus.

TV: same stuff that everyone else likes - BB, GoT, DoAb and Sherlock. I also got into Always Sunny in Philadelphia this year - very dark, very funny.

Books: Started a bunch, finished very few. Nothing to recommend. "Checklist Manifesto" is pretty interesting so far - it's about how the brain functions (or fails to function) in the information-dense present.

Games: 'Xcom' was a worthy update of the original. Loved all the detailed micro/macro strategy. 'Journey' was beautiful and fairly moving for a videogame.