Transcript Soundx
Sound rarely draws a great deal of attention from audience members even though it is crucial to our experience of televisual media ◦ It just ‘is’ However, it is crucial to the realism, emotional impact, and meaning of the narrative Diegetic sound is all audio that is part of the story—at least one character is able to hear it ◦ Objective: available to all characters ◦ Subjective: internal to a few or only one character Nondiegetic sound is the sound that the audience can hear but the characters cannot ◦ Orchestration ◦ Voice-over from heterodiegetic narrator Perhaps the most compelling impact of sound is its role in generating emotion Voice Music Tempo/Timbre/Volume Sound effects Radio commercials http://www.babble-onrecording.com/samples.html http://www.clioawards.com/winners/ http://www.radiomercuryawards.com/rma20 09/audiolibrary.cfm Though we rarely pay much attention, we are used to a vast array of sounds in our environment ◦ Their absence or inappropriateness will lessen the feeling of realism generated by a film, TV show, or even videogame Offscreen sounds and noises, etc. provide an imaginary environment appropriate to certain characters, actions, etc. ◦ Sells the setting ◦ Provides information unavailable visually ◦ The co-occurrence of sounds and visual action hides the construction of both from view Sounds sell visual effects Star Wars ◦ http://www.youtube.com/watch?v=i0WJ-8B6aUM ◦ Lightsabre (Ben Burtt) ◦ Sounds Wall-E (Ben Burtt) ◦ http://www.youtube.com/watch?v=6ghwbcgby6E&f eature=related The meaning of certain actions or phenomena is unclear without sound ◦ Music, etc. that has prior meaning may ‘explain’ onscreen action 2001: A Space Odyssey http://www.youtube.com/user/hetfield1984#p/u ◦ The juxtaposition of incompatible sound and video may indicate irony, satire, etc. Dr. Strangelove Sound may be the main source of enjoyment ◦ Video complements the sound rather than vice versa Musicals Music videos Sound effects, narration, dialogue, orchestration carry over from shot to shot or even scene to scene The musical score or signature sounds may be reintroduced from episode to episode or throughout a series of independent but linked episodes Recorded during production ◦ Mostly dialogue Boom microphone v. Lavalier v. closemiking ◦ Especially difficult on location (ambient sounds) Megan Silverstein: http://www.domgee.com/findresume.html http://www.youtube.com/watch?v=y15eNbH g8Uc Production Sound Designer Dubbing Automatic Dialogue Replacement (ADR) or ‘looping’ ◦ http://www.youtube.com/watch?v=YSm9DDxQv8E&feature =related ◦ http://www.youtube.com/watch?v=NwZwTP52aIc&feature= related Sound Effects ◦ Gathering sounds http://www.youtube.com/watch?v=XCpFtGCAgfI ◦ Prerecorded/libraries ◦ Foley process ◦ Specially constructed Music ◦ Orchestration ◦ Popular music Brings important meaning/allusions with it Postproduction mixing ◦ http://www.youtube.com/watch?v=6C1rNqdblMs&f eature=related