Though we might think of film as an essentially visual experience, we really cannot afford to underestimate the importance of film sound. A meaningful sound track is often as complicated as the
image on the screen. The entire sound track is comprised of three essential ingredients:
the human voice
sound effects
music
These three tracks must be mixed and balanced so as to produce the necessary emphases which in turn create desired effects. Topics which essentially refer to the three previously mentioned tracks are discussed below. They include dialogue, synchronous and asynchronous sound, and music.
THE HUMAN VOICE: dialogue
Dialogue authenticates the speaker as an individual or a real person rather than the imaginary creation of a story teller. As is the case with stage drama, dialogue serves to tell the story and
expresses feelings and motivations of characters as well. Often with film characterization the audience perceives little or no difference between the character and the actor. Thus, for example:
Humphrey Bogart is Sam Spade; film personality and life personality seem to merge. Perhaps this is the case because the very texture of a performer's voice supplies an element of character.
When voice texture fits the performer's physiognomy and gestures, a whole and very realistic persona emerges. The viewer sees not an actor working at his craft, but another human being struggling with life. It is interesting to note that how dialogue is used and the very amount of dialogue used varies widely among films. For example:
In the film 2001 little dialogue was evident, and most of what was used was banal. In this way the filmmaker was able to portray the “inadequacy of human esponses when compared with the magnificent technology created by man] and the visual beauties of the universe.”[2]
The comedy, Bringing Up Baby, on the other hand, presents practically non-stop dialogue delivered at break-neck speed. This use of dialogue underscores not only the dizzy quality of the character played by Katharine Hepburn, but also the absurd duality of the film itself and thus its humor. The audience is bounced from gag to gag and conversation to conversation; there is no time for audience reflection. The audience is caught up in a whirlwind of activity in simply managing to follow the plot. This film presents pure escapism - largely due to its frenetic dialogue.
SOUND EFFECTS: synchronous and asynchronous sounds
Synchronous sounds are those sounds which are synchronized or matched with what is viewed. For example:
If the film portrays a character playing the piano, the sounds of the piano are projected.
Synchronous sounds contribute to the realism of film and also help to create a particular atmosphere. For example:
The “click” of a door being opened may simply serve to convince the audience that the image portrayed is real, and the audience-may only subconsciously note the expected sound. However, if the “click” of an opening door is part of an ominous action such as a burglary, the sound mixer may call attention to the “click” with an increase in volume; this helps to engage the audience in a moment of suspense.
Asynchronous sound effects are not matched with a visible source of the sound on screen. Such sounds are included so as to provide an appropriate emotional nuance, and they may also add to the realism of the film. For example:
A film maker might opt to include the background sound of an ambulance's siren while the foreground sound and image portrays an arguing couple. The asynchronous ambulance siren underscores the psychic injury incurred in the argument; at the same time the noise of the siren adds to the realism of the film by acknowledging the film's (avowed) city setting.
MUSIC: background music
Background music is used to add emotion and rhythm to a film. Usually not meant to be noticeable, it often provides a tone or an emotional attitude toward the story and/or the characters epicted. In addition, background music often foreshadows a change in mood. For example, dissonant music may be used in film to indicate an approaching (but not yet visible) menace or disaster.
Background music may aid viewer understanding by linking scenes. For example, a particular musical theme associated with an individual character or situation may be repeated at various points in a film in order to remind the audience of salient motifs or ideas.
Film sound is comprised of conventions and innovations. We have come to expect an acceleration of music during car chases and creaky doors in horror films. Yet, it is important to note as well that sound is often brilliantly conceived. The effects of sound are often largely subtle and often are noted by only our subconscious minds. Yet, it behooves us to foster an awareness of film sound as well as film space so as to truly appreciate a twentieth century art form, the modern film.
2. Thomas Sobochack and Vivian Sobochack, An Introduction to Film, p.177.
This is an excerpt from America in Film and Fiction
original URL: http://130.132.143.21/ynhti/curriculum/units/1988/4/88.04.04.x.html
This article is a condensed version of several chapters of Sobochack and Sobochack's book, An Introduction to Film. The original web site also contains a section about film space.
Friday, July 27, 2007
An Introduction to Film Sound by Jane Knowles Marshall
Cant wait to get my hands on this!
I love collecting my own SFX to use in my projects. I only resort to SFX Library's when I have to. Here is a great new handheld 5.1 recorder from Zoom. I already pre-ordered 1 and I suggest you get one also. Can't beat this price!! I also have the Zoom H4 and love it!
Handheld flexibility!
The Zoom H2 Handy Recorder puts pro-quality audio literally in the palm of your hand! The followup to Zoom's super-successful H4, the H2 Handy Recorder gives you an amazingly versatile tool for capturing top-notch 2-track audio. Its internal 4-mic capsule allows for several different polar patterns which, combined with its signal-processing capabilities, give the H2 the ability to record 4-channel data that can be authored into 5.1 surround! With a USB interface, external mic In, and time stamp function, the Zoom H2 Handy Recorder is a compact wonder!
Zoom H2 Handy Recorder at a Glance:
Handy size, multiple uses
Quality built-in mics and signal-processing
Recording flexibility
Time stamp and markers
Handy size, multiple uses
From seminars, workshops and conferences, to podcasting, to musical settings such as live performances, songwriting sessions and rehearsals, you could really use a a sound-capture tool that gives you high-quality audio in an unobtrusive, compact package. Here it is! The Zoom H2 fits in the palm of your hand and offers you pristine audio, plus an array of miking options. Once you use it, you won't believe how truly handy the H2 is for getting incredible sounds, easily!
Quality built-in mics and signal processing
The H2 comes with an internal 4 mic capsule and signal processing, meaning that a variety of polar patterns from cardioid to supercardioid to 360-degree polar patterns are possible. And you can record 360-degree as 4-channel data, which can then be authored into 5.1 surround sound!
Recording flexibility
Zoom's H2 records on SD media cards up to 4GB and ships with a 512MB card. In addition, you can set the file format to the widest variety of bit rates available for increased recording time. Record at 96kHz (DVD quality) 48kHz (DAT quality), 44.1kHz (CD quality) and MP3 up to 320kbps. Variable Bit Rate (VBR) data format is also an option for the best optimization of memory. The H2's onboard USB interface lets you manage your files by moving them to your PC or Mac for storage and editing with your favorite Digital Audio Workstation software. Or use the H2 as an audio interface to record audio directly to your computer. The H2 can also function as USB mic.
Time stamp and markers
The Zoom H2 also has a time stamping feature so that you can organize by date and time the recording is made. This feature is especially useful for electronic newsgathering or any application where real time data is needed to coordinate production. You can also place markers where you need them in the audio for quick and easy locators.
H2 Handy Recorder Features:
4 mic capsules and signal processing makes flexible polar patterns possible
Built-in USB interface with audio interface function
Wav 96kHz/48kHz/44.1kHz and MP3 up to 320kbps VBR data format
External Mic In can connect general plug-in-power stereo mic
Time stamp function
Possible Polar Patterns:
Front 120 degrees cardioid
Front 90 degrees super cardioid
Rear 120 degrees cardioid
Rear 90 degrees super cardioid
360 degrees polar pattern
Includes 512MB card, Stand, Mic Clip Adapter, Windscreen, Earbuds, USB Cable, and AC Adapter
Zoom H2 Handy Recorder - The next generation of portable recorders!
Wednesday, July 25, 2007
Mix it like a Record by Charles Dye
While not exactly catered towards post, Charles Dye does an amazing job of helping you get your feet wet in mixing. If you are looking for a tutorial on how to get quality sounds, ideas, and vibe for the tunes you are mixing, this is an EXCELLENT place to start. Buy this DVD to be influenced and to THINK about what you are mixing and why you would use certain effects/dynamics. Highly recommended!
Tuesday, July 24, 2007
Download Inspector plug NOW!
Great metering plug-in from Roger Nichols!
http://www.rogernicholsdigital.com/inspector.html
PSP Vintage Meter for free!
Excellent FREE metering plug-in for Pro Tools!
http://www.pspaudioware.com/
Free Digi Plug-ins with PT110
Digidesign has a great promotion for the Pro Tools 110 course!
I plan on enrolling in this course in the near future to become a certified pro tools expert.
Check it out!
http://www.blog.protoolstraining.com/?p=89
Automatic Ducking
I use duckers quite frequently when mixing TV spots & content, and I think I have a pretty good formula. You can use any compressor with a low enough ratio (1.25:1 or lower is acceptable). I use the R-Compressor from Waves at between 1.10:1 and 1.13:1 with a very low threshold (-30dB). This causes about the same amount of gain reduction regardless of how much signal is present in the VO. (when there's voice, there's gain reduction in the ducker). Your gain reduction at any given moment is less than 3dB, but it really helps the voice pop. I use very fast attack and release times for this type of ducking.
I think the secret to making it work well is to not engage the ducker until you've automated the volume on your VO (and most likely your music, too), EQ'd the VO and music, and applied any other compression that you'll be using.
As for EQ, I'm usually pretty gentle with music tracks - but that depends on the music. If you have strong horns, strings, guitar, piano, or vocals in the music, the EQ can be essential. Otherwise, for general "make room for the VO" EQ, I'll use subtractive EQ in the upper mids - maybe -3dB, wide Q in the 3k or 4k range - but it varies. I'm also a big fan of narrow additive EQ to bring out a bass element or something that adds character to the music and the spot without interfering with the VO (when it's called for).
Keep in mind that any compression you do on the master (the use of limiting such as L2 is another topic altogether) will act similar to a ducker in the sense that if your VO is mixed hotter than the music, everything gets compressed when the VO hits. Especially effective in this area is a multiband compressor like the C4 or Linear MB from Waves, which will cause mid-range or low-mid gain reduction to your mix during VO lines. Just BE CAREFUL. Don't let any compressor or limiter work too hard without being able to justify it.
After all this talk about compression, remember that you really want to get your spot leveled out before adding any duckers or master compression. Volume automation is your best friend for a great spot.
