Post by mdshamiulislam7 on May 19, 2024 12:22:40 GMT 8
A historically correct, ancient soundscape, free from any omnipresent hum or noise of our modern industrial society. Unfortunately, many filming locations were near airports or highways, requiring intensive sound post-production. The atmospheres for the respective scenes were completely redesigned in the recording studio and the majority of the dialogue passages were synchronized in order to meet the requirement of a sound that had been cleared of industrial noise. Likewise, so-called Foley recordings with appropriate materials were intended to bring sounds and sounds that were virtually extinct but were typical of the time, such as the metallic sound of armor and chain mail, back to life. Film clips and trailers can be seen on my homepage.
What are you particularly interested in about sound and acoustic perception? When it comes to the medium of film, I am particularly fascinated by the suggestive power of sounds to give a scene a very specific Austria Phone Number emotional coloring and the diverse possibilities that arise from this for auditory design. For example, imagine a film scene from a car ride that is neutral in terms of content. Depending on how the sound design and music are designed, it can imply a leisurely Sunday trip or a nerve-wracking chase. Even details can make the difference. I also find it fascinating how you can always lose yourself in the sound world of a film, like in a kind of dream. There is a saying in our culture: “I won’t believe it until I see it with my own eyes.
”We seem to want to make sure with our eyes, rather than our ears. How do you feel about the relationship between seeing and hearing in our culture? In my opinion, we live in a highly visual society, at least when it comes to our conscious decisions. Here we trust our eyes, we accept what we see as the truth. However, our sense of hearing has no less influence on our decisions, it's just that nowadays we are not or only rarely aware of it. For example, the so-called Muzak, background music in supermarkets and department stores that is adapted to our biorhythms, subliminally promotes our willingness to consume and encourages us to spend money - without us noticing much of it.
What are you particularly interested in about sound and acoustic perception? When it comes to the medium of film, I am particularly fascinated by the suggestive power of sounds to give a scene a very specific Austria Phone Number emotional coloring and the diverse possibilities that arise from this for auditory design. For example, imagine a film scene from a car ride that is neutral in terms of content. Depending on how the sound design and music are designed, it can imply a leisurely Sunday trip or a nerve-wracking chase. Even details can make the difference. I also find it fascinating how you can always lose yourself in the sound world of a film, like in a kind of dream. There is a saying in our culture: “I won’t believe it until I see it with my own eyes.
”We seem to want to make sure with our eyes, rather than our ears. How do you feel about the relationship between seeing and hearing in our culture? In my opinion, we live in a highly visual society, at least when it comes to our conscious decisions. Here we trust our eyes, we accept what we see as the truth. However, our sense of hearing has no less influence on our decisions, it's just that nowadays we are not or only rarely aware of it. For example, the so-called Muzak, background music in supermarkets and department stores that is adapted to our biorhythms, subliminally promotes our willingness to consume and encourages us to spend money - without us noticing much of it.