Toujours dans la série #effets_sonores au #cinéma et autres #bruitages, un tout nouveau podcast par des gens du métier : The Right Scuff. Porté par le designer sonore #John_Roesch et sa fille, autrice, #Sarah_Roesch :
Foley is the art of creating live sound effects in sync with what is happening in the film. In other words, it is the reproduction of sound effects that are added into the film or video in post-production. And you might be asking yourself, why have I never noticed this before in film? Well, if the job is done right, you won’t even know it was done. That is the beauty of foley, the recreated sounds are so perfectly in tune with what is happening on screen you (the audience) are able to fully immerse yourself within the story.
An early BBC experiment in radiophonic sound, predating the establishment of the Radiophonic Workshop, created by Frederick Bradnum and Daphne Oram (pictured) and produced by Donald McWhinnie.
TX BBC Third Programme, 07/10/1957.
McWhinnie’s spoken introduction (the work starts at 4:20):
"This programme is an experiment. An exploration. It’s been put together with enormous enthusiasm and equipment designed for other purposes. The basis of it is an unlimited supply of magnetic tape, recording machine, razor blade, and some thing to stick the bits together with. And a group of technicians who think that nothing is too much trouble - provided that it works.
"You take a sound. Any sound. Record it and then change its nature by a multiplicity of operations. Record it at different speeds. Play it backwards. Add it to itself over and over again. You adjust filters, echos, acoustic qualities. You combine segments of magnetic tape. By these means and many others you can create sounds which no one has ever heard before. Sounds which have indefinable and unique qualities of their own. A vast and subtle symphony can be composed from the noise of a pin dropping. In fact one of the most vibrant and elemental sounding noises in tonight’s programme started life as an extremely tinny cowbell.
"It’s a sort of modern magic. Many of you may be familiar with it. They’ve been exploiting it on the continent for years. But strangely enough we’ve held aloof. Partly from distrust. Is it simply a new toy? Partly through complacency. Ignorance too. We’re saying at last that we think there’s some thing in it. But we aren’t calling it ’musique concrète’. In fact we’ve decided not to use the word music at all. Some musicians believe that it can become an art form itself. Others are sceptical. That’s not our immediate concern. We’re interested in its application to radio writing - dramatic or poetic - adding a new dimension. A form that is essentially radio.
“Properly used, radiophonic effects have no relationship with any existing sound. They’re free of irrelevent associations. They have an emotional life of their own. And they could be a new and invaluable strand in the texture of radio and theatre and cinema and television.”
“The Sounds of ’Jurassic World’ Explained”
How do you create dinosaur noises without knowing what dinosaurs sound like? In this video, sound designers #Pete_Horner and explain the story behind the sound effects of #Jurassic_World. For the newest instalment of the Jurassic Park films, the sound team recorded a variety of animals from the guttural sounds of the walrus, beluga whale, lion and pig to the screams of the dolphin, spider monkey and fennec fox. Sounds of high frequency were blended together to achieve the high squealing sounds of each dinosaur; furthermore, they had to ensure that each species sounded distinct from one another.
Sais-tu ce qui imite parfaitement bien le #son d’os en train de se casser ? Le #céleri, dixit #Gregg_Barbanell, le monsieur #bruitages d’#Hollywood, qui t’en a donc mis dans The Living Dead. Il te raconte tout ça dans « The Man Who Makes Hollywood’s Smallest Sounds »
For “breaking bones,” big, full stalks of celery are employed — not merely individual stalks, mind you, but HUGE bunches capable of producing layered, complex snaps. “They give you this huge, sinewy stringy sound,” adds Barbanell. “It’s very effective.”
For sharper, harder sounds like “crushing skulls,” Barbanell relies on whole walnuts. “I’ll hold two in my hand and crush them, or very gently crunch them with my feet,” he says. “It sounds exactly like the crushing of bones.”
C’est aussi lui qui a bruité Breaking Bad.