Film Sound Cliches – Pt 3 of 3

December 2, 2006

THE GREATEST HITS

from Film Sound

ANIMALS

  • Animals are never ever silent – dogs whine/bark/yip, cats meow or purr, cows moo, even in cases where most animals wouldn’t be making a sound.
  • Rats, mice, squirels and other vermin always make the tiny little squeeky noises constantly while they are on screen.
  • Dolphins always make that same “dolphin chatter” sound when spinning, jumping, etc.
  • Snakes are always rattling

Read full list of many, many cliches here

RELATED:

Film Sound Cliches – Part 1

Film Sound Cliches – part 2 


Profile: Joe Cipriano

November 22, 2006

Joe Cipriano: That Familiar Voice

by Dustin Driver for Apple Pro

“For Joe Cipriano, whose voice you’ve no doubt heard during the fleeting minutes between TV show segments, announcing has always been second nature. “I got into radio when I was about 14,” he says. “I built a studio in my parents’ basement, bought an AM radio transmitter and started doing radio shows for the neighborhood.” The young DJ went on to work for seven major radio stations and even filled in for Casey Kasem on the American Top 40 show. Now he does voiceover work for NBC, Fox, CBS, Food Network, and several motion picture studios. ”

Read full article here


Article: Audio for Reality TV

November 15, 2006

by Christine Bunish for POST (January 1, 2004)

‘  “Described as a sketch comedy show wrapped in a hidden-camera format, The Jamie Kennedy Experiment, which airs on the WB network, has been mixed by Fred Howard since its inception three years ago. “It’s completely unscripted, but that’s not to say we don’t have an agenda: to get laughs,” says the post production sound mixer at Post Logic, Hollywood (www.postlogic.com). “They set Jamie up to play an outrageous or absurd character against an unsuspecting mark and hilarity ensues.”  ‘

Read full article here.


Article: Surrounding The Audience

November 6, 2006

by Paul D. Lehrman  for MIX

“In last month’s column, I looked at some of the issues involved in putting together surround mixes for live sports events through the eyes of Phil Adler, an old friend of mine who’s been doing freelance sports mixing for 18 years; Ron Scalise, audio project manager for remote operations at ESPN and now ABC; and Jim Hilson, senior broadcast audio specialist at Dolby Labs. As we saw, it’s hard enough getting the mixes to make sense at the site, but this month, we look at what happens and what can go wrong when the sound gets sent on its way.”

Read full entry here.


Mixing Sports in Surround Sound

September 25, 2006

Think of this as a companion piece to the previously posted NFL and Crowd Noise piece on NY Times. This article by Paul D. Lerhman for MIX discusses the issue of surround sound mixing in sports television. By talking to several people, Lehrman found out “...a lot about how surround mixes for sports are created, how they’re distributed, how they’re transmitted and what can go wrong along the way, which is quite a bit.