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8. Re: Movie soundscapes

Subject: 8. Re: Movie soundscapes
From: "Roger Norwood" bigrogsound
Date: Tue Aug 7, 2007 12:29 am ((PDT))
Tricky isn't it. I now work mostly in theatre where 'sound effects' are exa=
ctly that, sounds that do the job or have the right effect, i.e. to assist =
the audience in an understanding that they otherwise would not achieve.
But theatre is the land of entertainment and fantasy, not documentary or re=
ality. Movies are movies, they concentrate on the eye-to-brain experience w=
ith the addition of sound to assist the process. The 'that-will-sound-bette=
r' attitude of unaware paymasters whether directors or producers looking to=
 their budgets and using inadequate library clips rather than actuality is =
a sad indictment of today's entertainment industry.

A sad tale.... a producer client of mine was making a promotional film of a=
n idyllic rural retreat with a working watermill in a hidden valley in the =
remote Welsh countryside. Could I supply effects of riverside birdsong atmo=
s, running water, waterwheel, grindstones etc? Two years earlier I had by c=
hance found and recorded the very location, visited the mill and recorded a=
ll the milling processes and even met the miller and got a full sense of th=
e history and working of the place.
I dubbed the film with accurate effects from my library and did almost as g=
ood a job as if I had been on location during the shoot. (I have no idea wh=
at happened to the original location sound recordings.)
When my clients client, the miller - who was selling his rural idyll to pro=
perty developers - saw the film he didn't recognise the sound of his own lo=
cation and machinery and congratulated me saying "great what they can do wi=
th sound effects these days isn't it," "sounded like the real thing, almost=
 like you were there, and "haven't we met before somewhere?"...............=
...

Can anyone pr=E9cis the final recommendation of the 'portable units for fie=
ld researcher playback' thread sometime back? I'm off to record fledging pu=
ffins & manx shearwaters and have been asked to produce playback calls for =
live burrow census research. I hope the birds recognise themselves!

cheers all
Roger
BigRogSound

On August 07, 2007 6:51 AM Heather Perkins wrote:-



  I hear you. I'm in both camps - I have clients telling me what they
  want, and if they won't listen to my gentle insistence that it's the
  wrong sound, I do it, even if it's not right, since they pay me.

  And I cringe every time I hear a red-tail hawk screech when an eagle
  comes on the screen. Etc., Etc....

  Tough calls to make.

  Heather Perkins
  Sound Designer - Composer - Mad Scientist
  WaterDog Studio & Land-O-Newts! Records

  On Aug 6, 2007, at 10:48 PM, Tim Nielsen wrote:

  > That's pretty bad. In their defense (being one of those pesky movie
  > sound guys) it's often pretty damn hard to have the luxury of
  > tracking down a whole library of FX for a given foreign local. And
  > the fact is, 99% or more of the people out there probably would never
  > know the difference (which is also probably a bit sad). My father, an
  > avid motorcyclist for his entire life, often vents to me when he
  > hears them using the wrong sound for the bike, "On screen was a 1952
  > Norton Commando, and they used the sound from a 1961 BSA blah blah'.
  > When I point out to him that about 4 other people on the planet
  > noticed, sometimes he quiets down :)
  >
  > And often it's the director himself that dictates such choices. In my
  > first feature film, there was a beautiful Austin Healey, I spent an
  > entire day recording that exact model, and in the end when the
  > director didn't think it sounded 'beefy' enough, it was replaced with
  > a 12 cylinder year 2000 Ferrari. Believe me, we all cringed
  > constantly and every time we heard it. But in that case, our job is
  > to listen to the director. We tried very hard to get the real car
  > sound in there, but in the end, we were overturned. It's very
  > possible that the director heard the sounds of Africa and didn't feel
  > they were 'exotic' enough. I've had that happen to me, when the
  > 'real' sounds were tossed out in favor of improper ones at the
  > bequest of the people who sign the checks.
  >
  > Not defending them, but the term 'jerk' might just be a tad strong,
  > not knowing all the circumstances.
  >
  > Tim
  >
  > On Aug 6, 2007, at 8:37 PM, Bernie Krause wrote:
  >
  > >
  > > I don't know how many on the list have seen BLOOD DIAMOND, but with
  > > my wife on the road last night, and the Netflix DVD sitting by
  > itself
  > > on the coffee table and me alone in the house, I put it in the
  > > player. For me, it ain't a good flick. Way too violent in the
  > > episodic Hollywood American sense to be worthwhile no matter what
  > the
  > > "cause." But it was made far worse by the terrible sound editing.
  > > The story takes place in Africa in (sometimes) forested areas where
  > > diamonds are mined. I got as far as the scene where those jerks
  > > inserted a Screaming Piha (Lipaugus vociferans) and tropical South
  > > American frogs and insects as part of the soundscape. It was at that
  > > moment they lost me and I shut the damned thing off. I could no
  > > longer suspend disbelief, having no patience for this kind of
  > > cynicism.
  > >
  > > Bernie
  > >
  > > Wild Sanctuary
  > > POB 536
  > > Glen Ellen, CA 95442
  > > 707-996-6677
  > > http://www.wildsanctuary.com
  > > 
  > > Google Earth zooms: Earth.WildSanctuary.com
  > >
  > >
  > >
  > >
  >
  >
  >
  >







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7 16:53







"While a picture is worth a thousand words, a
sound is worth a thousand pictures." R. Murray Schafer via Bernie Krause


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