SoundWorks Collection: The Sound of Gravity — Transcript

Full transcript

1. 0:19the sound in the storytelling of rabbit
2. 0:22is very important there is no sound in
3. 0:25space so is it you're in the vacuum
4. 0:27sound cannot be transmitted to the
5. 0:30atmosphere nevertheless sound is
6. 0:33transmitting through interaction of
7. 0:35elements meaning that if our characters
8. 0:38grab torch stuff the vibration of that
9. 0:42will travel into their ears and so they
10. 0:45will get a muffle representation of that
11. 0:47sounds grab it is a film that is design
12. 0:50itself for surround system the sound is
13. 0:53constantly traveling is very dynamic is
14. 0:56geographically very literal meaning if
15. 0:59one character is stuck in behind you the
16. 1:03sound is going to come from behind he
17. 1:05had a pretty violent clad grip on what
18. 1:08he thought the sound should be he
19. 1:10understood the science himself because
20. 1:12the way he designed the movie he was
21. 1:14completely immersed in the suits and the
22. 1:16shuttles and what you could do what
23. 1:18couldn't do and how you would get from
24. 1:20here to there if you just tether or
25. 1:22whatever the science happened to be all
26. 1:24the Foley everything that they were
27. 1:26doing loosening the bolts and moving
28. 1:28things and opening doors everything all
29. 1:31came into the form of transducer
30. 1:34recordings which records vibrations
31. 1:36rather than regular airborne audio and
32. 1:39really the whole layer of sound effects
33. 1:41are those recordings
34. 1:48and that gave us this fantastic kind of
35. 1:50halfway we're sort of dabbling and see
36. 1:53an event and have a sound to go with it
37. 1:55which is a lot of what we normally do
38. 1:57then the compromise of B hate you know
39. 2:00there's no air you have a helmet you
40. 2:02couldn't hear that how would that happen
41. 2:03so we kind of split the difference there
42. 2:07basically in terms of the science of it
43. 2:11there was a fair amount of production
44. 2:13track Jordan Sandra did a fair amount of
45. 2:16stuff they did some stuff in sort of
46. 2:18like a rehearsal mode where they were
47. 2:20basically doing read throughs and some
48. 2:23of that stuff is in the movie there's a
49. 2:25fair amount of stuff which was when they
50. 2:26were shooting George and Sandra within
51. 2:29these rigs they were miked up and I
52. 2:31think they had mics like this kind of
53. 2:33life
54. 2:33and a fair amount of the movie is from
55. 2:35apart from those recordings and then we
56. 2:38also did a fair amount of ADR
57. 2:54houston mrs. mission and one thing about
58. 2:57that track which was kind of fascinating
59. 2:59this is one of the things that Alphonse
60. 3:01and I worked on was the more futzed the
61. 3:04voices became the more kind of realistic
62. 3:06that is but the less emotion is
63. 3:10transmitted to the audience some of
64. 3:13those sounds are you know crucial to
65. 3:15conveying the depth of emotion so we
66. 3:18were constantly twiddling the futz
67. 3:20trying to make it less literal more
68. 3:22funds based on what was happening
69. 3:24on-screen something that we did
70. 3:26specifically for gravity is that the
71. 3:28music is composed force around here the
72. 3:32music comes from different places in the
73. 3:33room and it just travels and moves and
74. 3:36clashes with other musics that is coming
75. 3:38from other places
76. 4:00the other really big item was that the
77. 4:03voices would pan with the characters so
78. 4:08it was decided that we would pan the
79. 4:11voices with the actor if Sandra's hear
80. 4:13her voice came from there George be like
81. 4:15this his voice is there and we would
82. 4:17track that around wherever they went but
83. 4:19you make it follow that has a fantastic
84. 4:22side benefit in that it both focuses you
85. 4:26where people are and a lot of times in
86. 4:29the movie stuff lying around it it helps
87. 4:31you focus where you are looking to
88. 4:32graphically but it also at the same time
89. 4:36makes you feel more disoriented more
90. 4:40like you're untethered and you're
91. 4:41floating around
92. 5:07we did the original mix in 71 and that
93. 5:10was very exciting and then when we redid
94. 5:12that mixed in at most in this stage we
95. 5:15doubled down we made it even more
96. 5:17precise we followed the actors as
97. 5:20closely as we could and really went
98. 5:23through great effort to make the voices
99. 5:24follow the actors around then we also
100. 5:26had height so we could make them more
101. 5:29elaborate pants and that was a huge
102. 5:31unanticipated joy we were doing a
103. 5:36similar flying around idea with the
104. 5:39score as well and that was really
105. 5:41complicated we sort of basically
106. 5:44untethered everybody and unclipped
107. 5:46everyone and let everything just kind of
108. 5:49float around to its own sort of level I
109. 5:52think that dole bc-ad MOS is the sound
110. 5:55system I always dreamed off is it system
111. 5:59that offers a perfect separation depth
112. 6:03al full full range in every single one
113. 6:05of the speakers the speakers on the
114. 6:07ceiling also complementing to the
115. 6:09experience of the immersive experience
116. 6:12of cinema I would use this system
117. 6:15anymore
118. 6:18hit hard grab ahold anything you can
119. 6:32there are two basic challenges one is
120. 6:34you know as always being clever and
121. 6:37being smart about your choices and
122. 6:40focusing your energies on the scenes
123. 6:42where you can really do things that
124. 6:44would show off the atmos or the sounds
125. 6:47that you have can be better reproduced
126. 6:49in some way and then the other question
127. 6:51is when not to do that when to just it
128. 6:54sounds pretty good well why should we
129. 6:57change that and that's one of the
130. 6:58beauties of it is that it's a really
131. 7:01open platform so you can really do wild
132. 7:04things and you can spend a lot of time
133. 7:06and you can pretty much reap an
134. 7:08everything if you wanted to we
135. 7:09essentially did that on gravity the
136. 7:12dialogue was already ninety percent
137. 7:13there because the dialogue being all
138. 7:15mono essentially we made all the
139. 7:18dialogue into objects and then the pans
140. 7:21were already there to the 71 platform we
141. 7:25just up to us to push them out here and
142. 7:28there as the situation required
143. 7:32everything that you learn helps you
144. 7:36appreciate what a rare and fantastic
145. 7:39collaboration that is and particularly
146. 7:43in a movie like this where Alfonso is
147. 7:45really reaching for greatness and
148. 7:49achieving it left and right you have the
149. 7:52responsibility to help him achieve the
150. 7:54soundtrack as well and this movie for me
151. 7:58was not taking your role for granted
152. 8:01that everything that we worked on day in
153. 8:04and day out during the mix there always
154. 8:06seemed to be another level that we can
155. 8:08achieve I mean what inspires me a
156. 8:10cinematic experience as an emetic
157. 8:12experience that is a language in itself
158. 8:15and as a language that you use tools and
159. 8:18sound is is one of these tools when you
160. 8:22have the possibility of having sound
161. 8:25coming out from every single different
162. 8:28place makes it replicates the experience
163. 8:30of just being alive you're used to be
164. 8:33there in the moment in the in the
165. 8:35cinematic moment that you're presenting
166. 8:37on the store
167. 9:09you