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Music, Sound, and Audio Technology
Texture in Sound: Deciding on Audio Texture for Your Film
By Bryant Falk
posted May 7, 2009, 23:49 |
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Bryant Falk has been a producer and engineer for over 12 years
working with such clients as �The Ricki Lake Show,� Coca-Cola,
Sports Illustrated and Valley National Bank. He recently completed
mixing for MTV�s �The Shop.� His company Abacus Audio handles
many aspects of the audio production field from creative and
production to mixing and final output.
http://www.abacusaudio.com/
As one begins the adventure of recording his or her
project, a lot of attention is given to what media will do the
job. Should it be shot on video or film? 24 progressive or
1080 interlaced? From a creative standpoint different media
create a certain feel or �Texture�. Even different film stock
can severely impact what is conveyed on screen.
In the world of audio, the same type of thinking can be applied.
This can be done from the start by what equipment you plan on
using to record location audio, microphones, tape decks, etc. But
more likely it is in post where you will be adding many different
tracks to a scene that will allow you to decide how you want your
project to sound. Audio is unique in its ability to be completely
transformed in post.
Deciding on audio texture is like picking a certain type of paper
before you begin writing, or canvas, before you begin painting.
From matching audio to the historical period of the time, (adding
hisses and whirrs to an old radio playing in the background), to
creating audio for sci-fi movies made a long, long time ago, (Star
Wars), these audio textures can be applied globally to a film
project and locally within a scene, (such as with a flashback).
Consider the power that audio texturizing has in immersing the
viewer quickly and effectively.
Remember when audio cassettes were the craze? They had a
certain punch and warmth all at the same time. When working on
a period piece, you might consider mixing the project as if it had
some of that cassette sound to it.
Now I�m not condoning a feature length mix with a scratchy
crackly mix for simulating the first wax cylinder. But as an intro or
outro, or even to start and finish a scene, this might be an
interesting approach, creating yet a different sonic environment for
the viewer.
These textures are wonderful in its ability to paint different colors
for different moments. Being in a pool hall today verses being in a
pool hall fifty years ago will not only have different music playing
but the way we would here that music would be different! These
different types of textures can literally be counted. I like to hear at
least three to five different textures in a movie. It keeps the
listeners� ears fresh and creates momentum for your project.
Another texture to consider is sound effects. From full stereo or
surround sound effects to the more simple single track. They all
play a role in your project. Putting a pen tapping on a desk in fullsurround may pull the viewer out of the movie as this much
information is not the norm in real life. If it�s an effect you�re
shooting for, then that�s another story. I like to rank what is most
important in a scene for the viewer. This helps put in perspective
what really matters in that particular scene. A door slam may or
may not be as important as the keys jingling before the engine
starts. I might use the door slam in surround to push the size of the
garage the car is in or crush it to mono if there is something more
acoustically important I want to stress, (for example, the rev of
another engine somewhere else or the evil laughter of another
character). One interesting past time of mine is watching movies
from different time periods to hear how they differ and what the
priorities were. From the John Wayne WWII movies to action
packed blockbusters of today. I find it interesting how many older
movies convey more emotional content than their brethren
produced many years later with much �better� technology. In the
end, technology is at your disposal to be used how you see fit.
Now take a look at the table below as I�ve tried to categorize these
textures we�ve been discussing.
Textures to consider
1) Current, (This is what is available today).
2) Historic, (Matching what you would have heard at the
period).
3) Retro, (Period in which sound recording went through
changes).
4) Effected, (When what you hear and what you see may
not match).
So when in the writing phase of your film somewhere in the
notes section, try keeping track of the audio texture for each of
your scenes. Not just the sound in the scene but how you want it
to hit your viewers� ears. Even if you plan on mixing in full
surround, older or classic audio flavors can really spring to life
when given a surround treatment. Keep your creativity flowing
through the mixing phase of your film, and you�ll be surprised and
impressed at the results.
This article may not be reprinted in print or internet publications without express permission of StudentFilmmakers.com.
Check out this article in the August 2006 print edition of StudentFilmmakers magazine, page 38.
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