Letang Is The Truth wrote:how does one come up with that combination?
It comes from the sort of general malaise that only the genius possess and the insane lament.
Honestly, you'd be surprised what many of the best sound effects actually are.
shafnutz05 wrote:I finally watched Gattaca for the first time. Wow...what a powerful, awesome movie. Loved absolutely everything about it.
I don't remember a single thing about that movie, but I remember have a visceral reaction to it. Hated it.
pittsoccer33 wrote:we kind of take really great sound design for granted now, but its really only began to evolve to what we know now 30 or so years ago when Lucasfilm created the THX certification for how movie theaters should sound.
The whole idea was to replicate the acoustic environment of a dubbing/re-recording stage in a commercial cinema.
It has done wonders for cinematic (and home) presentations, but remember that THX represents a set of minimum
standards. The two best theaters I've ever been in (both on studio lots) are not THX-certified.
pittsoccer33 wrote:terminator 2 is another all time classic. to this day it is considered one of the greatest sound achievements.
And the crazy thing about that movie is that is was not even encoded in surround sound.
The way the original Dolby system works (or worked, I guess) was that the surround channel was a monophonic signal that would be recorded in the L-R stereo signal, but laid in 180 degrees out of phase with the actual L-R audio. The center channel was a sum of the audio info in the L-R signal that was of equal magnitude in each channel. The Dolby processor would then decode the stereo signal, send the common sounds to the center speaker and all info that was 180 out of phase to the mono surrounds. Well, with T2 they didn't actually encode any audio deliberately out of phase to create a surround signal. So any surround audio you hear on that soundtrack is what they call 'magic surround', audio that's just naturally out of phase.
So despite (or perhaps because of) being essentially a simple stereo film, T2 still remains one of the top sound films of all time.
If you're interested in sound design, I suggest renting any film in which Walter Murch worked in the audio department. (To this day, the opening reel of "Apocalypse Now" is probably the most impressive combination of sound and visual story telling I've ever seen. Er, heard.) Listen to a Robert Altman movie (like "The Player"), how he uses layers of dialog from multiple characters to create a mood. Get any film that Gary Rydstrom did sound for; he's known for big films like T2 and "Jurassic Park", but his work on the early Pixar shorts is especially noteworthy. Ben Burtt is sort of the godfather of modern sound design, thanks to his revolutionary effects editing work on "Star Wars".
Sound truly is 50% of the experience. And it's a part that 99% of moviegoers don't appreciate, or even care to understand. They don't realize that at no point in the scene in "The Godfather" when Michael kills Sollozzo and McCluskey at the restaurant do we see a subway or el train.... but we hear it on the soundtrack as the enter the restaurant..... and we don't consciously register the screeching of the wheels on the rails gaining in volume and intensity, dominating the audio as Michael grows more and more agitated in the moments before he pulls the trigger...... and we don't really take notice that the instant before Michael does pull the trigger, the screeching ceases leaving the shots to ring out of a moment of complete silence, creating a moment of surprise despite the audience knowing for nearly 8 minutes of screen time that this was going to happen. We don't notice these details. But they increase the power and impact of the scene in a way that's almost incalculable.