Some clichês is always use in movies.
- Car tires “always” screech on dirt roads.
- Car breaks must always squeak
- Car tires must always squeal when the car turns, pulls away or stops
- On big budget films- whenver a car does any maneuver It must accelerate – ideally to the point of peeling out! even if it is going under 20mph
- In a route we hear a large truck and a horn with Doppler effect
- Storms start instantaneously: there’s a crack of thunder and lightning, then heavy rain starts falling.
- Thunder is always in sync with the lightning, and the explosion sounds are always in sync with the stuff blowing up, no matter how far away. Same for fireworks
- Whisteling types of wind are always used
- Non-stop bubbles underwater
- Doors always squeek
- Enviromental sound to a shoot with the window open, are always next to a schoolyard or a construction-site.
- When in San Francisco, no matter where you are, you always hear a cable car and or a fog horn.
- Exterior Ambiences: No matter where you are outside, if it’s not in the city, you hear a lonely cricket chirping
- Trains: we always hear the same old classic distant trainhorn over and over again.
- in U.S. films playing in big cities there’s always a police horn in the background – in films from other countries… never!!!!
- When a light bulb gets broken, there’s always a kind of electric sound
- Whenever there is a fight or commotion going on in the upstairs of a house, the person downstairs won’t hear a thing because the noise of gunshots, chairs falling over, screams etc will be totally masked by the following sounds; the phone ringing, the washing machine beginning its spin cycle, the dog barking, a drink is being whizzed up in the liquidiser or the maid beginning the vacuum cleaning. .
#wecando MAKING OF
One of the most used things in the cinema is the low frequency, The low end is very important to give power to the sound but how to sound tight, not boomy?
One little trick that I learned from my friend and partner at WeCanDo audio post is use a Aux that only goes to LFE, I don’t use the send from pro tools direct to LFE.
In this Aux I usually have a high cut in somewhere of 80Hz or lower, a waves rbass that give me a solid low end around 40 Hz or something near this!
And the the way to make it thicknesss is use a compressor that give a nice distortion content like a 1176 or one great compressor for solid sub is the Softube Summit Audio TLA. This compressor distortion helps to give more thickness to the low end and also help to appear more in the mix! This techinique is very powerfull for big low ends!
I is nice to hear it with a great bass extension speakers or headphones