This channel endeavors to be fun and educational for cineastes, sound artists, and film-lovers alike, showing a variety of my interviews, recording adventures and lectures that showcase how I tell stories with sound in motion pictures.
There isn't any video coverage of the recording or making of the adverts for the film. Theo Green and I envisioned a sonic dystopia to match the visual squalor of the film. Adverts would be everywhere, creating cacophony and anxiety through their ubiquity and cacophony. We wrote most of the scripts for them ourselves and had them translated all of them into a variety of languages. We targeted the loudest and crassest commercials for the lower floors of the city, where the poorest citizens live. We placed the most soothing ones higher up as evidenced by the calming Korean voice pitching spa treatments on the rain drenched top of K's building. Theo and I both wrote product appropriate music to accompany some of them, like the pixie doll down below as K enters the market. Some of the reverbs are the natural acoustics of empty sound stages at Sony Studios, where we were mixing. We took some of the voices and played them back over loudspeakers at one end and rerecorded them at the other. Sometimes we played them back at double speed so that when they came down to sync speed the reverb was longer an richer. Denis Villeneuve very much liked this idea of using adverts as weapons and part of an anxiety producing atmosphere for a city gone mad.
Could you do more videos on how you and team did the adverts? They never really got talked about in the press and interviews for this film. They just really ping the pleasure centers of my brain. I'd love to try to make some of my own BR style ads.
Half of this film’s success I attribute to its souunddd. No film has immersed me quiet in the same way that this one did. Chills the entire time. That early scene with Dave Bautista was absolute perfection! The way sound was used to amplify who this character was physically, but also an insight into his quality of living. So much was communicated with so little. Perfectly set the groundworks for how the rest of the movie would play out.
Obrigado Rui, isso é muito gentil. Não tenho muitos seguidores no RU-vid, mas a coleção Sound Works tem muitos seguidores e aposto que muito mais pessoas a viram em seu canal ou site do RU-vid. Você deveria dar uma olhada. Michael Coleman, da Sound Works, faz os melhores filmes mais aprofundados sobre som e vem cobrindo habilmente nossa comunidade há décadas. Aqui está um link: soundworkscollection.com.
@@markmangini obrigado pela dica vou seguir! Muito obrigado pela resposta fico lisonjeado por estarmos a comunicar, aproveitar para dizer que é muito gratificante e inspirador a sua disponibilização da sua arte nas redes sociais sou um seguidor há muito do seu trabalho no grande ecrã, a minha ambição é poder um dia tb dar um contributo sonoro a um projeto e tem sido muito engrandecedor ouvir toda a arte paixão e filosofia que compõem a sua abordagem e forma e dizer obrigado pelo tempo que disponibilizou na resposta, e uma vez mais muito obrigado e um grande abraço sonoro ☀️
@@ruiluis6264 Adoro compartilhar minhas ideias. Nunca pensei que deveria mantê-los para mim. Por que? Você pode me imitar, mas aonde isso, honestamente, leva você? Você será um imitador e perderá seu tempo não sendo você mesmo. Meu objetivo é falar sobre meu ofício na esperança de que seja uma inspiração para outras pessoas seguirem sua paixão, suas ideias. Vou contar a qualquer um como fiz alguma coisa. Essas técnicas ou pistas têm vida curta, entretanto. Como diz a parábola: "Dê um peixe a uma pessoa, ela comerá por um dia. Ensine-a a pescar e ela se alimentará por toda a vida." Esse é o meu objetivo.
I know you won't mention it yourself, but just so people know, you received an Academy Award nomination for the sound editing on this film and the sound mixing team also received a nomination. Well-deserved!
turn down your mixing levels , dune part 2 was utter rubbish it was just unpleasant noise ! deafening at odeon bh2 screen 9 , dolby 7.1 JBL system were i had to wear earplugs and even walked out on it 4 times as it was off putting noise , not sound art , just noise !
All the Probe Communication sounds were made from actual Humpback whale recordings that were electronically processed using simple pitch shift, harmonizing, and digital delays. The idea was that the probe, coming from a more advanced civilization technologically, not only knew how to speak “whale” but knew enough to “filter” those sounds above water so that they would sound normal to a whale underwater. We chose the shortest phrases from our whale recordings and assembled them into something that resembled a conversation. If the probe asked a question, we would add a prosodic pitch lift at the end of the phrase to indicate “question” and so on. When this edit sounded good in its own as a conversation between two earthly whales, we then passed the Probe phrases through the filtering cocktail to make it sound “above water” and a little electronic, our equivalent of the early robotic sounding text-to-speech tools.
I was 5 when my parents and I saw this in theaters in 1986....I totally do remember it, a little at least, but more from years later at home. I have always found the probes sound (not the talking whale part) to be incredibly awesome and so very creepy at the same time. Always wondered how it was made. Would love to hear the original unaltered sound, if it even exists anymore, as well as all the other sounds you created but were rejected.
These are cool do u happen to have your recordings of leo still after all these years cuz im a huge fan of your work and love your version of leos roar
Yes, I still have those recordings. I recorded them at Steve Martin's Working Wildlife here in California. While there I also recorded a Mountain Lion, a Black Leopard and a Tiger. A good day for sound.
When you make your videos for kids RU-vid no longer allows us to view your video in mini player mode, and more importantly I can’t listen to the video while my phone screen is turned off, which is how I digest most RU-vid media. On the go with my phone in my pocket. I’d love to check out yalls work, but until you fix that I’ll be missing out on all the fun.
Saw this at the mall theater in San Antonio on Town Pass Day in Basic Training November 1986, or somewhere thereabouts. Wonderful flash of memory from the distant past...like a previous life it feels.
@@philtosson5619 Every film creates its own universe of possibilities. It's really a matter of how much one wants to invest in that universe to make it feel real, lived in and believable. Theo Green and I worked tirelessly to bring those worlds to life in very different ways. On BR2049 one of our guiding philosophies (for story reasons) was "no synthesizers". That severely restricted our palette. On Dune, our guiding philosophy was to make that world sound like one we recognized, as if captured by a documentary film crew. Both aesthetics are unique and different and presented totally different sonic challenges.
