Nathan Ruyle Talks Krotos Bundles
“It’s an integral, day to day part of what we’re doing as a sound designers.”
Nathan Ruyle is a prolific sound designer, having worked on The Voyeurs, What Lies Below and many other projects through his post-production studio This is Sound Design.
He recently had an interview with us where he spoke about the importance of Krotos tools on his workflow. Watch the interview in full here, and see how he incorporates the Krotos Everything bundle into his workflow in this shorter video.
If you feel inspired afterwards, why not take a free trial of the Krotos Sound Design Bundle – available for download below.
Watch The Video on Nathans Sound Design Workflow
Using The Krotos Everything Bundle
From Nathan Ruyle:
“We own the Everything Bundle, and I’m thinking we may have to get a second one because we’re so busy these days. So that’s a good testament to how important Krotos is to us.
We’re in such an exciting time for audio technology and Krotos software is a great part of that. It’s packaged in a really simple, easier-to-use form. That means that we can get out from the underpinnings of the technology to just get the work done.”
Texturising Foley Recordings
We’re using Reformer Pro to texture foley. In ‘Cabrini‘, we have scenes where you have a vast expanse. It takes place in turn of the last century New York City. There are scenes where there’s like a hundred extras off in the distance walking around through these muddy streets.
So one of the cool things with Reformer Pro is we can actually just texture, add mud, add these sounds to the feet so it lets us create so much through Foley, and then they can start to differentiate and texturize it in post, which is really powerful.”
Creature Vocalisations In What Lies Below
“I did a movie that came out during the pandemic called What Lies Below which was a creature movie. We were able to use Dehumaniser II to make some incredible sounds – it’s so easy, specifically a movie like that, which is a fairly low-budget movie.
A lot of the movies we do are on the lower end of the budget, so being able to quickly shape something and not spend days working on it is really important. I think that’s just the reality of a lot of the movies that are getting made today.”
Engines and Vehicle Designs in Supercell
We’re using Igniter on Supercell for wheel sounds and engine work. Again, this is a low-budget movie, but it has a lot of driving and action sequences. When I’m working with Igniter (or any of Krotos products), It’s like being able to kind of work in real-time. It’s not like cutting foley from a library, it’s so much more efficient.
In igniter, the sound is all there, and you are shaping it into something. And once you’ve kind of created, ultimately your instrument for what the vehicle sounds like, you start to cover a lot of ground very quickly and end up with a result that oftentimes is just better than what you would have otherwise.
There are Tonnes of Vehicles Sounds in Igniter
On a current movie for Universal which I can’t name, there’s a scene where a character jumps into a Toyota Prius and drives away. We didn’t even have any Prius sounds in our library! So we went to Igniter – of course there’s a Prius in there, which was perfect.
Krotos is an Integral Part of What We Do
We may have to get a second bundle because we’re so busy these days. A lot of times we need to be using Igniter in two rooms at once – so that’s a good testament to how important the Krotos stuff is to us – Shout out to Krotos! It’s an integral, day to day part of what we’re doing as a sound designers.