When we praise the sound design in a given film we almost always applaud the amount of “detail” when we describe its accomplishments. There seems to be a consensus that making sure nearly everything that could make a sound does make a sound is a good thing.
This is dumb. When we admire the mere number of details in a movie’s soundscape we’re basically saying that the sound designers and editors weren’t lazy. That’s placing the bar very, very low. By the way, the same thing seems to happen when we praise a film’s production design or costumes.
The more baroque and ornate the furnishings the more likely they are to be considered first rate. What really matters is the nature of the details, not the number of them, don’t you think? In fact, it’s often the case that choosing to make only one or two “details” audible in a sea of possible sound sources is the most powerful choice.
The often praised Omaha Beach battle sequence from Saving Private Ryan is a case in point. What makes it sonically special is mainly how FEW sounds we hear during key moments, and their extraordinary quality. And when I use the word “quality” I don’t mean that the sounds are necessarily super hi-fi. I mean that they have a strongly evocative set of qualities in that context – Randy Thom
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#wecando MAKING OF
There is no better way than to create environments and effects of that recording. That’s right, as sound editors and sound designers, our biggest challenge is to have the perfect sound for each scene. And how?
Just capturing, editing, adding new elements, creating new sounds and new circumstances.
Our ears with our brains deceive us often, because it selects a few things to hear. We got used to the environment that we entered, think for example in an air conditioner, only we perceive the sound that he is on when turned off.
This was the same example given earlier in the film Saving Private Ryan. Induce our thinking.
And nothing better than recording effects and turn them into our history. This type of recording called Field Recording.
In this example are recordings for film Paratodos – Marcelo Mesquita. Where we are picking up effects in the Olympic streak USP telling a little about the history of Paracanoe.
That’s what we have to do, go around recording and only then discover new sounds.