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Transcript of Film Sound
- 1.Sound in Cinema Dialogue Music Sound Effects He wants to watch where he pokes that thing Knock his teeth out!
- DIEGETIC ( from inside the DIEGESIS ) refers to sound that BOTH the audience and the characters can hear.This would be sound effects or music played in the scene.
- NON-DIEGETIC refers to sound that ONLY the audience can hear.Typically, this would be Soundtrack music played for effect, to build tension in the audience but not part of the scene itself
Two Types of SOUND: 3. The Powers of Sound
- Sound is a powerful film technique for many reasons.
- To begin, sound engages a distinct sense which can lead to a synchronization of senses-- making a single rhythm or expressive quality unify both image and sound.
4. The Powers of Sound
- Secondly, film sound can direct our attention quite specifically within the image
- For example, our attention on the foreground not the background.
- The soundtrack can clarify image events, contradict them, or render them ambiguous.
- In all cases, the sound track can enter into an active relation with the image track.
- ClickHEREfor an example of how sound can change meaning.
5. The Powers of Sound
- Thirdly, sound cues us to form expectations.
- For example, a door creaking would make us expect someone or something has entered the room.
- The use of sound can creatively cheat or redirect the viewers expectations.
6. The Powers of Sound
- In addition,sound gives a new value to silence.
- For example, a quiet passage in a film can create almost unbearable tension, forcing the viewer to concentrate on the screen and wait in anticipation for whatever sound will emerge.
7. The Powers of Sound
- Lastly, sound is full of many creative possibilities as editing.
- The filmmaker can mix any sonic phenomena into a whole.
- The infinity of visual possibilities is joined with the infinity of acoustic possibilities to create meaningful relations.
- ClickHERE for an example of how sound is used to build tension in a scene.
8. Fundamentals of Film Sound
- Perceptual Properties:The three aspects of sound we perceive are:
9. Fundamentals of Film Sound
- As fundamental components of film sound,loudness, pitchandtimbreinteract to define the overall sonic texture of a film.
- At the most basic level, these three acoustic factors enable us to distinguish the various sounds in film.
- For example, these qualities enable us to recognize different characters' voices.
10. Selection, Alteration and Combination
- Sound in cinema is categorized into three types:
- Sound effects
- Sometimes, a sound may cross categories and be ambiguous
11. Choosing and Manipulating Sounds
- The creation of the sound track is similar to and demands as much choice and control as the editing of the image track.
- Sometimes the sound track is conceivedbeforethe image track.
- For example, studio-made animation and experimental film.
12. Choosing and Manipulating Sounds
- Sound guides the viewers attention.
- Normally, this means clarifying and simplifying the sound track so that important material stands out.
- Dialogue , the transmitter of story information, is usually recorded and reproduced for maximum clarity.
13. Choosing and Manipulating Sounds
- Important lines should not have to compete with music or background noise.
- Sound effectsare usually less important and supply an overall sense of a realistic environment.However, if they were missing the silence would be distracting.
- Musicis also subordinate to dialogue, noticeable during pauses in dialogue and transitions.
Foley work where re-recorded sound is used to enhance real sound 14. Choosing and Manipulating Sounds
- Dialoguedoes not always rank highest in importance.
- Sound effectsare central to action sequences.Imagine a car chase without squealing tyres
- Musiccan dominate dance scenes, transitions, or very emotional moments with no dialogue.
15. Choosing and Manipulating Sounds
- In creating a sound track, the filmmaker must select sounds that will fulfill a particular function.
- Usually, the filmmaker will provide a clearer, simpler sound world than that of everyday life.
- This helps the audience to focus on only the sound which is important and not needless background noise.
16. Choosing and Manipulating Sounds
- The microphone is unselective; like the camera lens, it does not automatically filter out what is distracting.
- Directional and shielded microphones absorb motor noise.
- Foley work which re-creates the specific diegetic sounds.
- Editing from libraries of stock sounds.
- All of these allow the filmmaker to choose exactly what the sound track requires.
17. Choosing and Manipulating Sounds
- By choosing certain sounds, the filmmaker guides our perception of the image and the action.
- If you notice how the filmmakers selection of sound shapes the viewers perception, you will also notice that they use soundunrealistically.
- This is to shift the viewers attention to what is narratively or visually important.
18. Choosing and Manipulating Sounds
- Today, film sound is normally reprocessed to produce exactly the qualities desired.
- Adry recordingof the sound will be changed electronically to produce the desired effect.
- For example, the voice of someone on a telephone will be digitally filtered to make it more tinny and muffled.
19. Sound Mixing
- Guiding the viewers attention, depends on selecting and reworking sounds.
- It also depends onmixing , or combining them.
- Thesound trackis not a set of discrete sound units but anongoing stream of auditory information.
20. Sound Mixing
- Combining sounds is usually done after shooting, in the mixing process calledAudio Post.
- The mixer can precisely control the volume, duration, and tone quality of each sound.
21. Sound Mixing
- Today, a dozen or more separate tracks may be mixed in layers at any moment.
- The mix can be quite dense, like in a busy airport or very sparse with an occasional sound emerging against a quiet background.
- These choices reflect the mood of the film the filmmaker aims to achieve.
Layers of Audio built up to create the right mood 22. Sound and Film Form
- The choice and combination of sound materials can also createpatternsandmotifsthat run through the film as a whole.
- This is most easily seen by examining how the filmmaker uses a musical score.
- They can select preexisting music to accompany the images or compose new music for the film.
- Opening titles to Batman The Movie (1989)
- Opening titles to Spiderman (2002)
23. Sound and Film Form
- The rhythm, melody, harmony and instrumentation of the music can strongly affect the viewers emotional reactions.
- Also, a melody, musical phrase or sound effect can be associated with a particular character, setting, situation or idea creating asound motif.
24. Sound and Film Form
- By reordering and varyingsound motifs , the filmmaker can compare scenes, trace patterns of development, and suggest implicit meanings.
- A musical score can create, develop, and associate motifs that enter into the films overall form.