Mike Schapiro Sound Design

A game project that I worked on with Gametracks. I mainly covered the stranger sound design aspects, such as any 'nanobot' activation sounds, Iron Man's jetboots and weapons, Bishop's charging-up and electrical shock sounds, Mr. Fantastic's stretching sounds, as well as some explosions (Titanium Man destroying a cafeteria, for instance), and lots of computer button press and similar sounds, and tons more!

Another project I worked on with Gametracks. Many of my sounds aren't contained in this particular cut. Things that I did include: Sonic's Air-spin missile hit, Ulala's spaceship motor sounds, the dash panel sounds, the totem Eye-Light activation sound, and various others.

Another cut we did of this video is available on Youtube, but that cut contains music that may make it difficult to hear all the sounds.

A project I worked on with Gametracks.I covered things like superpowers, electric shields, robots, bodyfalls, punches, electrical sparks, and tons more.

The first project I worked on with Gametracks. My responsibilities included things like the hologram effect on the alien projection, the spaceship explosion as the end, the spaceship scouter-robot launch sound, the robot servos and footsteps, and many more.

This is the video output of a Max/MSP/Jitter program I wrote. Really it's designed for live use, not music, but it works pretty well anyway.

The texture of the floating objects is based on the input of a webcam, movie file, or an image. The color changes based on the rhythm that the program judges the sound to be running at. The objects change shape and vibrate based on the sound; the sound also dictates which way and how fast the objects move around the screen.

The Catch was a project that I was hired to do all the post production sound on, by Standoff Studios. I had worked previously with them doing location sound for a low-budget horror film in Dublin, GA. The Catch is a fishing show pilot pitched to the Outdoor Network, and the location sound was a little sub-par - they had just used the camera mic for the whole thing. There were often shots that had people talking while on a moving boat (with a loud engine). I had to clean up dialogue, remove boat noise, edit in the music, mix the whole thing, and place/create sound effects.

Heart Sword Perseverance is a documentary about Ninjutsu. Mm, ninjas. Anyway, this is another project where I was responsible for almost all the audio. I did all the post production work, such as mixing, dialogue editing, etc, as well as some of the music. I travelled to Atlanta and Tokyo, Japan to capture the location sound for interviews with Maasaki Hatsumi, the Ninjutsu Grandmaster, and Roy Wilkinson, the current top-ranked Ninja in the US.

I was lead location sound engineer for this film, which involved running the mixer, hanging/hiding microphones, some creative mic placement, and a little bit of boom operation when our boom op was missing. I also did all the postproduction sound for this, including sound effects, mixing, dialogue editing, etc.

This is a web-streaming version of my demo reel. The audio is compressed with the AAC codec, and video with medium-quality H264. A higher quality (and much larger) version is available from the Resume and Demo Reel page.