TITLE

Preparation for the lone sound recordist

AUTHOR(S)
Schurr, Ande
PUB. DATE
June 2012
SOURCE
Onfilm;Jun2012, Vol. 29 Issue 6, p24
SOURCE TYPE
Trade Publication
DOC. TYPE
Opinion
ABSTRACT
The author shares his insights into the function of a sound recordist. He explains that the script is the core energy source of the movie which provides an understanding that leads to an accurate approach. He believes that there is a sympathetic rapport between actors and crew, especially the sound crew. He calls the attention of newer members of the film industry to the amount of effort that goes into preproduction.
ACCESSION #
77501248

 

Related Articles

  • THREE ON A TREE. Marenco, Cookie // EQ;Jul2006, Vol. 17 Issue 7, p10 

    The article presents an interview with sound recording engineer Max Bacchin. To the question as to what sort of whacky effect he would use behind closed doors, he replies with a description of sending a signal to a small speaker placed over a toilet seat by placing an SM-57 at the end of the...

  • Sounds in the Key of Life. Stackpole, Karen // Electronic Musician;Sep2001, Vol. 17 Issue 9, p108 

    Examines technical and creative considerations for recording Foley sound effects in a personal studio.

  • Sounds to Savor. Silberg, Jon // Hollywood Reporter -- International Edition;10/8/2002, Vol. 375 Issue 27, pS-6 

    Focuses on sound effects of various motion pictures that will be released in 2002. Technique used by sound designer Randy Thom to create crawling sounds for spiders in the film 'Harry Potter and the Chamber of Secrets'; Ways in which sound effects can enhance the emotions and themes depicted in...

  • Location Sound Effects Recording for Film. Jackson, Blair // Mix;Jul2005, Vol. 29 Issue 8, p92 

    Describes the profession of Eric Potter and John Fasal as location recording specialists for Hollywood motion pictures. Nature of the job; Credit list of films handled by the duo; Comment of supervising sound editor Richard King on the performance of the sound recording specialists; Work schedule.

  • Picture perfect sound. Takahashi, Gene // Electronic Musician;Sep99, Vol. 15 Issue 9, p96 

    Looks at how audio works in relation to film and video. Transfer of film to video; Pull-down process in editing sound to film; Time codes; Terminology.

  • DTS-DVD marriage makes for engaging cinema. Ventre, Michael // Daily Variety;04/20/2000, Vol. 267 Issue 35, pA6 

    Focuses on Digital Theater Sound (DTS) and DVD technology. Pioneer release of the motion picture `Apollo 13,' directed by Ron Howard; Two options in DVD audio formats; Use of DTS technology for delivering 5.1; Equipment needed for viewers to enjoy DTS on DVD.

  • Trapped in the 'Panic Room'.  // Mix;Apr2002, Vol. 26 Issue 5, p86 

    Discusses the sound design and production for the motion picture 'Panic Room,' directed by David Fincher. Design and construction of the house used in the film; Audio and video equipment used; Problems encountered during production.

  • the Finishing Touch. Gooch, Marsh // Onstage;May/Jun2002, Vol. 3 Issue 4, p52 

    Discusses the importance for musicians of mastering their compact disc project. Limitations of the mastering process; Selection of the right mastering engineer; Cost of employing his services. INSET: What Mastering Can (and Can't) Do.

  • A Glimpse Into the World of Production Sound Mixers. Jackson, Blair // Mix;Sep2002, Vol. 26 Issue 10, p28 

    Profiles several production sound mixers in the U.S. Career background; Techniques used in location recording of movies; Contributions to the motion picture industry.

Share

Read the Article

Courtesy of NEW JERSEY STATE LIBRARY

Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics