ART OF USING/ DESIGNING AUDIO

Talking about sound is quite difficult. There are lots of words about visuals but not that many about sound. The reason is, in our ordinary life, the sound is often simply a background for our visual attention.  It is obvious that we cannot detach the sound from the images of our environment. But as a filmmaker, we should find a way to separate the audio from video when we represent the reality and creating the documentary film. Thus, Sound is the most invisible part of the film but its effect can be truly incredible.

The soundtrack is a playground with amazing possibilities. Be serious, be emotional, be dedicated, be alert, and make sure that each sound you pick for a film tells the right story.

Imagine, there is a party with many guests. We hear many voices. They are talking, laughing, eating, drinking, etc., Within the guests is a baby and she is crying. In reality, her sound is mixed with the others and we cannot detach them. But when we make a film to show that this party is not for babies, we make a close up shot of the baby. In this way, we separate/isolate the baby from the others. Her sound is louder than the others and the sound of the guests are very low and we use it as the background sound.

Now Imagine that we remove the sound of the baby’s close up and just use the noises of all the guests, we get a new feeling about that picture. We also can use music for that part or voice over. Each version has own effect in our sensory system. That is the reason I do believe that the sound is the spirit of a film.

There are four Types Sounds/sonics materials: Speech, Ambient Sound, Natural Sound and music.

INTERVIEW

NARRATION/VOICE OVER

nearest – we call it FOREGROUND – and farthest – BACKGROUND – to the viewer.

Everything between the foreground and background is the middle ground – mid-ground-.

Working with depth of field can help the filmmakers to create the dynamic composition that tells the story.


The sound Perspective is the distance and position of the audio, creating realism in the sense of space within the film. For instead, a film shows a car from far away, driving  towards the camera. The sound perspective needs to be altered through this short distance, and gradually increase the volume as the car gets closer into the shot. When the car driving into a garage and closing the door, As the camera remains outside of the garage, the character’s voice inside sounds muted and faint. However, as the door opens, the sound changes to become bolder, stronger.

We recognise this kind of sound perspective in Dolby surround technique/designing.

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