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:

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.

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. Click HERE for an example of how sound can

change meaning.

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 viewer’s expectations.

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.

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.

Click HERE for an example of how sound is used to build tension in a scene.

Fundamentals of Film Sound Perceptual Properties: The three

aspects of sound we perceive are: Loudness Pitch Timbre

Fundamentals of Film Sound As fundamental components of film sound,

loudness, pitch and timbre interact 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. 

Selection, Alteration and Combination Sound in cinema is categorized into three

types: Dialogue Music Sound effects

Sometimes, a sound may cross categories and be ambiguous

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 conceived before the image track.

For example, studio-made animation and experimental film.

Choosing and Manipulating Sounds

Sound guides the viewer’s 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.

Choosing and Manipulating Sounds

Important lines should not have to compete with music or background noise.

Sound effects are usually less important and supply an overall sense of a realistic environment. However, if they were missing the silence would be distracting.

Music is also subordinate to dialogue, noticeable during pauses in dialogue and transitions.

Foley work – where re-Foley work – where re-recorded sound is used to recorded sound is used to enhance ‘real’ soundenhance ‘real’ sound

Choosing and Manipulating Sounds Dialogue does not always rank highest

in importance. Sound effects are central to action

sequences. Imagine a car chase without squealing tyres…

Music can dominate dance scenes, transitions, or very emotional moments with no dialogue.

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.

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.

Choosing and Manipulating Sounds By choosing certain sounds, the filmmaker

guides our perception of the image and the action.

If you notice how the filmmaker’s selection of sound shapes the viewer’s perception, you will also notice that they use sound unrealistically.

This is to shift the viewer’s attention to what is narratively or visually important.

Choosing and Manipulating Sounds

Today, film sound is normally reprocessed to produce exactly the qualities desired.

A dry recording of 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.

Sound Mixing Guiding the viewer’s attention,

depends on selecting and reworking sounds.

It also depends on mixing, or combining them.

The sound track is not a set of discrete sound units but an ongoing stream of auditory information.

Sound Mixing Combining sounds is usually done after

shooting, in the mixing process called Audio Post.

The mixer can precisely control the volume, duration, and tone quality of each sound.

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

Sound and Film Form The choice and combination of sound materials can

also create patterns and motifs that 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)

Sound and Film Form The rhythm, melody, harmony and

instrumentation of the music can strongly affect the viewer’s emotional reactions.

Also, a melody, musical phrase or sound effect can be associated with a particular character, setting, situation or idea creating a sound motif.

Sound and Film Form By reordering and varying sound

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 film’s overall form.