Published on March 5, 2014
CLASS 7 SHANNON W ALSH / SM2002 SCHOOL OF CREATIVE HONG KONG / SPRING MEDIA, 2014 CITY UNIVERSITY
HISTORY OF SOUND IN FILM
DIEGETIC & NON-DIEGETIC DIEGETIC Sounds that are visible on screen (voices of characters, sounds made by objects, music from things we see) NON-DIEGETIC Sounds that are not visible on screen (Narrator, music, sound effects outside narrative space)
STAR WARS EPISODE II Sound Design in Star Wards Episode II https://www.youtube.com/watch?v=5ogCVi0WqrQ
THEORY OF SOUND Sound is as key as Image – inaudible dialogue is unusable footage Every place has a sound • Background conversations & the particulars of place (birds, sirens, traffic lights) • Sound library and building your own library Tips & Tool of Sound Recording • Atmospheric sound • Tools of recording POV recording • Room Tones/ Thumbprints/Balloons • Mic placements, camera perspectives What you can do in the mix & edit – what mixing can’t solve
PRODUCTION & POST-PRODUCTION SOUND TEAM • Location sound recordist • Boom operator • Folly artist • Sound Editor • Sound Mixer • Music composer /Score
STAGES IN SOUND PRODUCTION • • • • • • • • Location recording Sound stage Folley Re-recording Dialogue editing Sound design (sound library) Mix Mastering
In the Final Mix with my Sound Editor, Daniel Lagace & Mixer / Sound Engineer, Jean Paul Vialard at the National Film Board in Canada.
THE CONVERSATION Walter Murch talks about the music score used during filming. (min 19:20)
APOCALYPSE NOW Opening sequence
DOG DAY AFTERNOON
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