Wednesday, October 31, 2007

Final project concept

My project's intent is to demonstrate the way in which sound influences how we interpret images and allow them to affect us on various levels. I'm going to have multiple (at least 3) images/quicktimes of a neutral face or situation (e.g. man at a table, person walking out of frame, car driving), and multiple (at least 3) sounds depicting different situations (e.g. car crash, birds chirping, ocean waves splashing) that touch across a spectrum of power and emotion. The way I'll present it is having a grid that looks like the following:

The user can scroll over an image and hear the sound play, and see what s/he feels from the combination of sound and image.

I'll get better image and sound ideas for the next iteration...this was just a quick runthrough.


Monday, October 15, 2007

More Questions

Tomlinson Holmen:

Well my question is related to what Jean was saying in a sense. With the advent of new technology there always seems to be something that is left behind or translated differently in its new form, so with the creation of this entirely immersive sound system, 10.2, what are some possible disadvantages or set back that may occur?

Is an exchange program needed where composers, sound editors and engineers all join together to learn and help create a sound environment using the 10.2 system?

Kenneth Hall :

To me the idea of emotions is that it is a very directional thing. We see something directly and automatically we have a reaction, what we don't see yet hear depending on the sounds can enlist fear in us and so on, so with the advent of this surround sound how do you think it will effect the audience, and your creation of provocative music? Do you think it is an enhancement and what are the measure you can take from this and expand on?

Bill Whittington:

There is this concept that all our ideas have been taken and everything that is currently created is only an appropriation and an altered state of a previous idea, does the same go for sound? Have we heard everything and how do you create something completely new ? How do you introduce it as something new when we have such a complex data base and are always trying to recognize sounds and associate it with what we know ?

My question for our guests

Tom Holman
-In real world, when a sound comes form our back or somewhere we don’t noticed, we often turn to the direction where the sound is to see what is happened. Your 10.2 sound system can perform sound just like the real world. When it is used in a theater, won’t it become a disturbance to audience? Because in a theater the screen always in front of us. If audience hear some sound and turn their heads to other place, they will miss some scenes.

Ken Hall
-You edited lots of movie’s music. There are many kinds of movies and animation (Mulan). When you edit music, is there any different between live action and animation?

Bill Whittington
-When you design sounds that audiences never heard before, did you do many kinds of experiment at the beginning? How did you know that kinds of sound can work for audience?

I'm not sure is the meaning of the question be convey in right direction or not. My sentence might not good to understand. Please correct me if there is something wrong.


(drumroll) More Questions..

Tom Holman:
Immersive sound is an evolving concept. Currently, the 10.2 Sound System is the pinnacle of that technology. How do you envision the evolution of immersive sound? To be more poignant, where do you think this technology will have its end? 20.2, 30.4? How many sound channels are necessary to replicate a true sound environment? One that mimics our every day lives?

Kenneth Hall:
As a sound and music editor, you have a lot to do with how a piece is presented/received within the context of the movie. How do you seek to evoke emotion through sound? Do you subscribe to a set of conventions when editing? Like the villain's theme must always be drawn out with emphasized percussion? Or do you let each specific project take on a life of its own though communications with the director and composer? Or is there a balance between the two? Are some situations demanding a more traditional approach?

William Whittington:
The creation of sounds is an art in its own right. Playing off Brian's question, how much of cinematic sound creation involves being true to the source of the sound and how much of your endeavors lie in making something sound good for film? Furthermore, how do you attain the equilibrium in which something sounds really cool, but the audience deems it as appropriate? Do you test these sounds with different people to see if it works or do you just know instinctively when something is working?

Wednesday, October 10, 2007

Questions for Our Guests

Tom Holman
-With the continued evolution and improvement of visual effects over recent years, the human eye has becoming more discerning with falsified visuals in movies and television - "breaking the fourth wall," in a way. How do you see your 10.2 sound system and other immersive sound technologies keeping audiences within the experience, and avoiding "breaking the fourth wall?"

Ken Hall
-Music clearly informs the audience of mood and tone throughout a film. Do you project your own emotions through your music in order to evoke similar feelings from the audience who will be hearing it?

Bill Whittington
-When creating sounds for real objects and environments that most audiences have never actually experienced, such as being in a submarine or in a spacecraft, where do you base your decisions in order to make the sounds convincing to the average listener? In other words, how much is based on fact, and how much is created from your imagination?

"Ripley, they're playing OUR song!"

brief idea

Just to get this out of my head before I forget it...

If we're going to do a sound space involving the way a dog (for example) hears, we could do a human/dog comparison using the exact same sounds and timing, but with different mixing to show the dog's enhanced perception.

Anyway, on to questions for our guests next week...



Last week's character animation seminar focused on one thing: Believability. Cinematic Sound and Animated characters have much in common. No one has seem these characters move just like no one has heard certain sounds (space, dinosaurs, etc.) However, the audience must be able to interpret both these elements as credible for the piece to be successful.

I believe if we can add this "layer" of depth to the project we'll achieve the goal of Sound Consciousness. This will dive deeply into the idea of ambient sound as those that truly flesh out an experience.

Monday, October 8, 2007

Interviews with Tomlinson Holman

Here is the link.
Someone else interview with Tomlinson before.

Sorry, I fix it.

I hope it can work for us.

Wednesday, October 3, 2007


Last week's discussion and look at the work Jan was putting together and my work made me aware of sounds a step further and the idea of layers to it. How an environment is composed of more than just the sound we directly here but there are ambiances, and different sounds all around us that I never thought about when creating an animation.
I had the idea of just a simple ball bouncing in a room and just the sound effects we add to that can change the type of room and environment is it in.
We can have an intance where we grass rustling, birds chirping and the sounds of the balls at it thuds against the grassy ground and that way we've put the ball in an outdoors sort of park environment.
Another instance is that of having the ball fall again in a room but if we add the sounds of people walking around, and a hard surface that feet hit against and then have the ball hit the ground which could be made out of floor and now that same ball animation has been transformed into a different environment.
The texture and weight of the ball itself can be changed just by changing the sound too.
Sound just like images I've realized have layers, and we can have background, midground and forground sounds in a sense.
This is definitly the way that sound should be incorporated into every peice we do wether they are microcells or even conversations people are having.