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Sound in Film

The document provides a comprehensive overview of the history, theory, and practice of sound in film, tracing its evolution from early inventions like Edison's phonograph to modern advancements such as Dolby Digital. It discusses the importance of sound elements including music, dialogue, and sound effects, as well as the distinction between diegetic and non-diegetic sounds. Additionally, it offers practical advice for sound recording and highlights notable examples from films like 'Saving Private Ryan' and 'There Will Be Blood.'

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15 views30 pages

Sound in Film

The document provides a comprehensive overview of the history, theory, and practice of sound in film, tracing its evolution from early inventions like Edison's phonograph to modern advancements such as Dolby Digital. It discusses the importance of sound elements including music, dialogue, and sound effects, as well as the distinction between diegetic and non-diegetic sounds. Additionally, it offers practical advice for sound recording and highlights notable examples from films like 'Saving Private Ryan' and 'There Will Be Blood.'

Uploaded by

fast.jordan
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as KEY, PDF, TXT or read online on Scribd
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Sound in Film

History, Theory & Practice

Jordan Fast
Introductions
History
History of Sound in Film
Edison’s Phonograph (1877)
Edison meets Muybridge (1888)
Kinetophone plays sound and image

+ First Kinetoscope Parlor (1894)


Paris World’s Fair - Three sound-synced devices (1900)
Audion Tube (1906)
Tri-Ergon Process (1919)
De Forest Phonofilm Company (1922)
1000 Sound Films made (1922-26)
Vitaphone & First Synced Music Film (1926)
1927 - Jazz Singer

Fox Newsreels established


First All Talking Picture - Lights of New York (1928)
Awkward Creative Shift (1928-1932)
Studio Era (1927-1950s)
Fantasound in Fantasia (1940)
This is Cinerama (1952)
Clockwork Orange (1971) - Dolby’s noise reduction
Star Wars (1977) - Dolby Stereo
THX founded (1983)
Dolby Digital in Batman Returns (1992) - 5.1 Surround
Beginnings

Edison
- Phonograph
- Muybridge
-

Ediso Mu
n yb
rid
Theory
A Little Improv
“The sound and music are 50% of
the entertainment in a movie.”

George Lucas
Types

Music
Dialogue
Sound Effects
Ambient/Room Tone
Foley
Diagetic vs. Non-Diagetic
Diegetic sound emanates Non-diegetic, or non-
from the storyworld of the literal, comes from outside
film of the storyworld

Characters’ voices Musical score


SFX within world SFX of which characters
are unaware
Music (eg. radio)
Narration or Voice-Over
Trans-diegetic
when non-diegetic becomes diegetic, or vice versa
A Note on Music
Examples
Example 1
Saving Private Ryan
Example 1
Saving Private Ryan

Dir. Spielberg; Sound Design - Gary Rydstrom (1998)


Role of water
Role of perspective
Spielberg’s thesis in a sequence? In a shot?
Example 2
White Noise
Example 2
White Noise

Dir. Noah Baumbach; Sound Editor - Rich Bologna


Postmodern invasion
Role of duplicity, ambiguity
Role of perspective/priorities
Example 3
There Will Be Blood
Example 3
There Will Be Blood

P.T. Anderson; Sound Engineer - James Austin (2007)


Again, a thesis for the larger work
Character sketch
The pit
The pick-axe
Practice
Your Job:
Get the Cleanest Source Audio
Possible
Knowing is Half the Battle
Know your:

Location
Equipment
Script
Actor
Director
Location Problems + Solutions

Refridgerators
AC/Heating
Other work/people/animals off set
Traffic / Airplanes
Creaky Floors
Echo
Wind
The Chain of
Sound
Environment - Actor - Microphone - Cable - Recorder -
SD Card
F8 Quick Settings
Set up recorder this way before your shoot

INPUT
Input Source - Mic for Inputs 1-4
HPF - set to 60Hz for Inputs 1-4
Input Limiter - Off - *Unless scenes require whisper/screams (Use Advanced, with a Target Level -
2dBFS)
Phantom Power - ON for Input 1 (for Boom mic; 48V)
REC
1-8 Polywav for Cards 1 and 2
Sample Rate - 48kHz
WAV Bit Depth - 24
Dual Channel Rec - Off
Max Record Size - 2Gb
SD CARD
Format - Format Card

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