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In Conversation With
Antoine Martin
Antoine Martin
As a sound editor and designer in the cinema industry, Antoine Martin has been collaborating with UVI for several years, creating cinematic and post-production tools such as Walker 2, Meteor, Asteroid, Drone and Whoosh. In this new Creator interview, discover more about his working environment, and his creative process for designing UVI products.
Can you introduce yourself and let us know your background?

My name is Antoine Martin and I've been doing sound editing on movies and podcasts since 2016 with a french post-production team called HAL. I also participated in the foley recording of many feature films, like Luc Besson's Valerian. In parallel, I have developed sound design-oriented soundware with UVI.

What role does software play in your everyday workflow in cinema post-production?

As a sound editor, I use plug-ins almost every day of my life (EQ, panner, reverb…). I love using MIDI controllers as part of my workflow, and to record sound design layers in sync with the image, like footsteps using Walker 2 or dark ambiences using Drone.

To what extent did your experience in the cinema industry help you create software for/with UVI?

It’s by working on movies that I get all my ideas for new plug-ins or soundware. I feel like a tool that I use could be better, or even simply doesn’t exist, and so I try to create it. Then, I go back in my editing room, work on a movie and use the plug-in that I’ve made and eventually make some updates until I feel like the project is finished, and then we release it. It is a very satisfying process!

Can you tell us about your creative process designing UVI products?

The basis of all the work I do on UVI products is sound quality. It's crucial to me that all the samples we record sound really good and can be used as is in a movie soundtrack. Then, we focus on playability and simplicity of use. Knowing that sound editors often have to be fast, it’s really important that using a UVI product from the « FX » range must be way quicker (and more fun) to use than scrolling in your sound library database looking for the right sound.

Foley recording sessions for post-production purposes can be very long and tedious. Do you have any anecdotes about products you made for UVI?

Especially for Walker 2, we recorded and meticulously derushed tens of thousands of samples. A big shout out to my teammate Benjamin Remize, who did a remarkable job at this: you have to be extremely precise and enduring to do this, it's like doing a marathon! For an upcoming project (coming out in a few weeks!), we went to people's homes to slam their doors, several dozen times for each door. We clearly looked like fools and we got interrupted by a lot of disgruntled neighbors... But that's what we like to do!

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