Things may gradually change as new blood comes through. I have my students produce 'spatial soundscape foley' where they have to produce an entire environment that is plausible - even to the extent of me being able to walk around in it (I once had to navigate in pitch black, using only the sound environment) - yet synthesised out of found ingredients and synthesised ingredients.
Almost every year I get one group who think they can blag it by taking the SF mic off to Weatherspoons (a local hostelry), drink a few pints while the recording is going on - job done, assignment in the bag. Every year they discover it sounds terrible. Then they realise they have to build the pub from the ground up (sonically, I mean) - and of course, that's the point of the exercise. It soon dawns on them that plausibility does not simply come out of accuracy, hence the 'spatial foley'. Students rapidly realise that the production tools are simply not predicated on this kind of task, and so they have to adapt and devise ways of working. So it will be a bigger task than generally recognised, to understand what 'spatial' actually means in artificial sound fields. BTW - one group even had some angry geese in their medieval inn... Dr. Peter Lennox Senior Fellow of the Higher Education Academy Senior Lecturer in Perception College of Arts University of Derby Tel: 01332 593155 ________________________________________ From: Sursound [sursound-boun...@music.vt.edu] On Behalf Of John Leonard [j...@johnleonard.uk] Sent: 06 February 2016 12:04 To: Surround Sound discussion group Subject: Re: [Sursound] Dialogue in center channel,,, not always Having had two theatre shows filmed for cinema release, I haven’t had the greatest experience engaging with the post production chaps: in both cases I’ve had to explain that when the cast members exit upstage, door slams shouldn’t be shoved in the rear speakers. Similarly, with a scene where all the cast are looking through an upstage window at someone riding across a field being chased by dogs, panning the sound effect through the rears and then round to the front speakers may be fun, but it doesn’t chime with with what’s on the screen. As for the up-mix to Dolby Atmos that happened for the second film, I had no control over how the effects were sourced and the result in the cinema was pretty terrible, and totally unnecessary. Rain makes a noise when it hits a surface, not when it’s flying through the air. The DTS system may be better - I have a colleague who’s involved in the development and he’s very enthusiastic about the possibilities. We shall see. John Please note new email address & direct line phone number email: j...@johnleonard.uk phone +44 (0)20 3286 5942 > On 5 Feb 2016, at 23:08, Peter Lennox <p.len...@derby.ac.uk> wrote: > > Don't get me started on why massive soundstage = shrunken screen! > and as for why you don't want to look over your shoulder, expecting to see a > dinosaur but actually see an nice ice-cream lady - well duh! _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on. The University of Derby has a published policy regarding email and reserves the right to monitor email traffic. If you believe this was sent to you in error, please select unsubscribe. Unsubscribe and Security information contact: info...@derby.ac.uk For all FOI requests please contact: f...@derby.ac.uk All other Contacts are at http://www.derby.ac.uk/its/contacts/ _______________________________________________ Sursound mailing list Sursound@music.vt.edu https://mail.music.vt.edu/mailman/listinfo/sursound - unsubscribe here, edit account or options, view archives and so on.
