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- Dykhoff, Klas
(författare)
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Ljudminnen
- 2005
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Annan publikation (populärvet., debatt m.m.)
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- Dykhoff, Klas
(författare)
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Non-diegetic sound effects
- 2012
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Ingår i: The New Soundtrack. - Edinburgh : Edinburgh University Press. - 2042-8855. ; 2:2
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Tidskriftsartikel (refereegranskat)abstract
- Most films tell a story. This story takes place in a constructed world that only exists in each specific film. It makes no difference if the story is set in a fantasy world, a historical or a future world, or even if it’s a documentary that depicts reality. Every film still creates it’s own filmic world, its diegesis.. Everything which happens inside this world is called diegetic and what happens (in the movie) outside this world is called non-diegetic. Traditional film music and voice-over narration are typical examples of non-diegetic sounds. The characters in the film are unaware of them, because they don’t exist in the same world. These sounds are messages from the filmmaker directly to his/her audience. Music played inside the film’s world, for example by visible musicians or from a radio seen on screen, is diegetic, as is dialogue and sound effects. The characters in the film are meant to be aware of these sounds. Whether the actors heard these sounds while shooting the scenes or if they where added during sound editing, they influence the audience’s interpretation of the characters, the situation and the narrative.
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- Dykhoff, Klas
(författare)
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Why use linear work flows with non linear tools?
- 2016
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Ingår i: The New Soundtrack 6.1 2016. - Edinburgh. - 2042-8855. ; 6:1
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Tidskriftsartikel (refereegranskat)abstract
- Although the technologies used to make films have changed completely during the 90-year life of sound film, the film making workflow has remained strangely unaffected. We still make films as if they are shot on film that has to be developed and printed by a lab, mechanically cut and spliced by a film editor and sound edited on mag tape. The transition to digital cameras and sound recorders and digital non-linear editing machines and audio work-stations, has had very little impact on the working practices of the film industry.This article proposes to change that. The transition in to a non-linear workflow would enable everyone involved in film post-production to collaborate in a more dynamic and creative way. By allowing more time for the sound editor and picture editor to experiment with sound in the editing process, more informed choices can be made in this critical phase. It would also enable the sound editors to have creative collaborations not only with the editor and the director, but also with the composer.
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- Van-Eckmann, Nik, 1948-
(författare)
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Wildlife Sound Recording: Dealing With The Distance And On-Axis Issues
- 2017
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In natural history filmmaking recording fauna vocalisation often produces difficult challenges especially when recording sound from a distance. The camera in many cases is able to solve these problems due to lens changes, but the microphone cannot do this, which creates major problems when combining sound and picture. This thesis using a multi disciplinary approach, looks at these problems in particular the 'Distance' and 'On-Axis' issues and attempts to solve them using both a theoretical and practical approach. The thesis consists of two parts, part one the theoretical section discusses the idiosyncrasies of natural history sound recording giving examples where the problems of actual situations have been resolved. Part two is an applied method or practical experimentation using technology designed to test certain theories in effectively dealing with the 'Distance' and 'On-Axis' issues. The practical experimentation takes place at various locations using avian subjects to demonstrate the problems and solutions when recording wildlife vocalisation. As a result of the tests, a remote-controlled microphone operating system was developed and tested in the field to ascertain its capabilities. Although still a prototype it has the potential through further development, to be a useful technological instrument for recording wildlife sound.
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