Make sure the crunching items are hard enough to transmit vibration to the plywood. Use the contact mic material for the thick, heavy sweetener. In addition to your regular mic, try using a contact mic on a slightly resonant surface, such as plywood, and crunch things with your boot. Real Bones? Dog Chews? Branch snap + filter?īreaking inside the body: Manicotti Pasta covered with a rag, close mic, break it slowly so you can really accentuate the crack. Thin triple sheet plywood left to soak outside in the rain then dried in the sun and torn apart, snapped. Jacob’s melon – melon with jacob’s cream crackers glued on it. Worked really well.Ĭelery/Carrots/Little Gem Lettuce – try freezing them too. I would keep some damp (not wet) for closer shots. I would twist, crush and break, spaghetti, elbow and linguini noodles dry. Ended up using a bunch of different kinds of pasta to capture the different angles and sounds for this creature. It looked like an alien with its extra long thin limbs. Recently I finished a horror movie where the monster (evil spirit) was spindley and contorted-looking.

I would suggest a cheap pair of leather gardening gloves as well since the crab legs are a bit prickly in spots and can be hard on the hands without protection. It’s a great combination of the hard shell breaking with a bit of fleshy sound mixed in.

Just experiment with breaking, twisting, smashing, tearing etc and you will start to hear the possibilities. This technique can yield not only bone breaks but also a variety of flesh ripping sfx: Get yourself to the fish market and buy some King Crab legs, the bigger the better. I personally like putting things in (cooked) whole chickens and then beating the chicken with a sledge hammer or other bludgeoning device.

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