Jack Foley began what is now known as Foley art in 1927.

March 18, 2011

Ever wonder how they get all of those sounds into a movie? Well if you did wonder, you were like me. Most people just take the sound effects for granted or don’t even think about them, assuming they were recorded on set and just inserted into the movie. We’ll it’s not that simple. Foley artists look to recreate the realistic ambient sounds that the film portrays.

Check out this short clip for a humorous look at the profession.

Check out this sequence for a more substantial look.

We watched this one in class. Amazing stuff. Wall-E!  Walla, Walla!!?


The sound mixer hears it all

March 18, 2011

Ever heard of a “group walla!”?

Before I tell you what it is…it reminds me of getting on the Chinatown bus in NYC to Boston. In the summer there is always a very sweet Chinese woman selling bottled water to people before they get onto the bus: “Wallah, wallah, one dollah! Wallah? Wallah, wallah one dollah.”  I learned today that her voice comes through at about 85db, perhaps 90db if she is raising her voice a little bit. Did you know that when you go to the movies, everything you hear is between ~40db (that’s quiet) to an absolute maximum 105db (total exploding raucous calamity), but most of it hovers around 85db, just about the level that we are all used to. The level of a human voice.

A group walla is when a group of actors are put together and are asked to speak in the background, to be recorded for background conversation in a scene. The resulting banter can often be quite hilarious, not that you’d ever hear it in the movie you are watching, because of how mixed down it is. But, the sound mixer hears it all. Sound mixers hear everything.


sound board


March 18, 2011

When we get back from lunch we will jump into some hands-on exercises and start working with some juicy sound waves!

Until then, chew on this little tidbit that Claes Nystrom threw out there:

“A musical score suggests the untold and substantiates the obvious.”

Dialogue, Music and Effects

March 18, 2011

After getting the basics of film sound recording, editing, scoring and mixing — and a background on Claes! (you can check out some of his work here nystromsound.com and nystrommusic.com) we are moving onto more in-depth detailed workflows in the post production process of sound editing.

The main stems of the workflow are: Dialogue, Music, Effects that all get mixed down to the Printmaster–but more on that later!

“Let’s imprint once and for all that ‘dialogue is king’, and that no sound ever takes precedence over the
overall story, no matter how proud it may make us feel. It’s not about us, it’s about the movie.” Claes Nystrom

Hollywood Film Sound for Desktop Filmmakers — Day one!

March 18, 2011

Claes Nystrom: Knows his db's

“Films are 60% audio and 40% picture”
-Stanley Kubrick

Claes Nystrom is giving a workshop on sound for film here at CDIABU.

What are the differences between the Sound Editor and the Sound Mixer in a movie?
How can I improve my storytelling through sound?

Technological advancements in film and film sound mean:
Crews are shrinking
Roles are expanding
Competence is increasing and spreading
Workflow linearity is constantly changing, and becoming more efficient.
Might one person one day handle all post production tasks single-handedly?

All the more reason to understand as much as possible from pre to post, is what I’m thinking.

“We don’t mix for total reality, we mix for hyper-reality” Claes Nystrom

It’s going to be an exciting two days.

Stay tuned!