Sound-on-film: Interviews with Creators of Film Sound

前表紙
Greenwood Publishing Group, 1994 - 299 ページ

Sound-On-Film contains interviews with 27 prominent men and women who discuss their careers and the art and craft of film sound. These sound creators represent many of the crafts working in film sound, including production sound, sound editing, sound design, automatic dialogue replacement (ADR), Foley, re-recording mixing, and sound engineering. The interviews are presented in an order that attempts to give the reader a historical perspective on the development of film sound from the studio era to contemporary productions.

The interviews explore how sound creates an aural look to the film in the same way that production design and cinematography creates a visual look to a film. The discussions focus on the relationship with renowned Hollywood film directors and how sound was conceived and executed for specific films. Among the highly acclaimed and seminal films discussed are Star Wars, Nashville, The Conversation, Apocalypse Now, Raging Bull, and Terminator 2. In addition to the interviews, the book contains biographical background and a selected filmography of each sound creator as well as a glossary of terms and a bibliography for further study. It is essential reading for film students, academic scholars and film educators as well as industry professionals and moviegoers who want to understand the aesthetic and technical role of those who work in film sound.

この書籍内から

レビュー - レビューを書く

レビューが見つかりませんでした。

ページのサンプル

目次

Jack Solomon
1
Arthur Piantadosi
11
Don Rogers
21
Frank Warner
27
Richard Portman
41
Norval Crutcher
53
Ross Taylor and Kitty Malone
61
Jim Webb
69
Richard Anderson
159
Tom Fleischman
173
Cecelia Hall
187
Tomlinson Holman
201
Juno Ellis
211
Frank Serafine
219
Gary Rydstrom
227
Wylie Stateman
247

Walter Murch
83
Paul Zydel
101
Daniel Allan Carlin
109
Les Lazarowitz
117
Michael DiCosimo and Robert Warren
129
Ben Burtt
137
Elisha Birnbaum
151
Skip Lievsay
255
Mark Mangini
269
Glossary
283
Bibliography
289
Index
293
著作権

他の版 - すべて表示

多く使われている語句

人気のある引用

143 ページ - So from an artistic standpoint one should try to develop a sensitivity or an instinct for it so you can say: "Okay, of all the choices, this explosion is the best one. That explosion sounds nasty, and we want a nasty explosion at this point in the film. We don't want a kind explosion that sounds like it has a resolution to it. We want something nasty.
134 ページ - So the concept there is to flood the auditorium with sound from everywhere but the screen, so that you have a very wide natural sound field that really doesn't have any direction or motion to it. Since the surround channel is primarily used for ambiences...
30 ページ - A great key for me was to be abstract and really get off the obvious, get off what you think it has to be. I forced myself out of that pattern. The real sound is not necessarily the right sound. Sound is an element that is easy to apply abstractly. Once you realize the capability, you're really painting the sound.
69 ページ - California Split. 1975: Nashville. 1976: Buffalo Bill and the Indians, or Sitting Bull's History Lesson.
88 ページ - My general principle of recording sound is never to think of recording just the sound itself. To record a telephone ring I think of recording the space between myself and the telephone. What I'm really recording is a relationship between that telephone and the space around it. It's just a general predisposition to always think about the air that surrounds something.
85 ページ - We had one Nagra tape recorder with the clean voices on it. We ham-radioed them into the universe, received them back again as if they were coming from another country, fiddling with the tuning so that we would get that wonderful "sideband
132 ページ - There are a number of things you can do to try to get more without actually having more.
54 ページ - The dialogue — that's what we go to the movies for. You don't walk away saying, "There were great door closes in that movie.
85 ページ - I turned the record button all the way up so it was distorting in the original recording. When you distort something that loud, there's a low-frequency pulsing as well as a high element. I said, "That's the motor of these jet cycles.

著者について (1994)

VINCENT LoBRUTTO is a faculty member for the Department of Film, Video and Animation at the School of Visual Arts. He has been a film production coordinator as well as a free-lance film editor. Among his publications are Selected Takes: Film Editors on Editing (Praeger, 1990) and By Design: Interviews with Film Production Designers (Praeger, 1992). LoBrutto is currently writing his fourth book for Praeger based on interviews with feature film cinematographers.

書誌情報