chapter 7 emotional intensity over narrative coherence
p.140 "Foley sound"--- those sound effects that are created in synchronization with the projected image during sound postproduction.
Chapter 6 surround sound
p117 Dolby noise reduction
118-119 "realism"?
119 Dolby Stereo surround sound is not meant to heighten realism at all, but just the opposite, to denounce it.
p122 the use of surround sound offers a total sonic environment, which masks the real environment of the theatre space to create a sonic space with no entry and no exit.
Saturday, April 25, 2015
Friday, April 24, 2015
Beyond Dolby (Stereo): Cinema in the Digital Sound Age (Mark Kerins)
P33 Dolby stereo… represented a significant improvement over the status quo: if offered cinema improved dynamic and frequency ranges and "cleaner" sound --- capabilities further enhanced in the 1980s by Dolby SR, which applied improved noise reduction techniques to the Dolby Stereo matrix.
p34 As Tomlinson Holman notes in his book 5.1 {channel my correction}Surround Sound: Up and Running, Dolby Stereo's "dynamic range and difficulties with recording for the matrix make this format seem rather prematurely grey." Holman lists numerous problems with the matrix, including the level imbalances anywhere in the signal path would significantly skew the whole soundfield; that the matrix decoders often steered sounds to the wrong speakers when multiple sound sources were present at once; and that the width of the perceived sound field behind the screen varied depending on whether dialogue was present or not.
p.58 In the film world, analog optical sound-on-film systems like Dolby SR and Dolby Stereo are noisy enough that their intrinsic noise is audible, as a background hiss, in a soundtrack's quiet moments.
P. 85 Chion "superfield"
Zizek "it is now that soundtrack that functions as the elementary 'frame of reference' enabling us to orient ourselves in the diegetic space." --87
p. 87 Chion finds that "Dolby multitrack has naturally favored the development of passive offscreen space over active"
dolby stereo sound trace replaces the establishing shot ----P88 "multiple images have supplanted the wide, all-encompasing establishing shot of previous eras, with each individual shot offering only a fraction of the information the absent maser shot would have"
p34 As Tomlinson Holman notes in his book 5.1 {channel my correction}Surround Sound: Up and Running, Dolby Stereo's "dynamic range and difficulties with recording for the matrix make this format seem rather prematurely grey." Holman lists numerous problems with the matrix, including the level imbalances anywhere in the signal path would significantly skew the whole soundfield; that the matrix decoders often steered sounds to the wrong speakers when multiple sound sources were present at once; and that the width of the perceived sound field behind the screen varied depending on whether dialogue was present or not.
p.58 In the film world, analog optical sound-on-film systems like Dolby SR and Dolby Stereo are noisy enough that their intrinsic noise is audible, as a background hiss, in a soundtrack's quiet moments.
P. 85 Chion "superfield"
Zizek "it is now that soundtrack that functions as the elementary 'frame of reference' enabling us to orient ourselves in the diegetic space." --87
p. 87 Chion finds that "Dolby multitrack has naturally favored the development of passive offscreen space over active"
dolby stereo sound trace replaces the establishing shot ----P88 "multiple images have supplanted the wide, all-encompasing establishing shot of previous eras, with each individual shot offering only a fraction of the information the absent maser shot would have"
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