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  1. I was watching one of this year's screeners last night, on a calibrated system in a good room. In one scene of this action/drama, the protagonists are walking through a clearning in a large forest. There's a lot of snow covering everything. There are no mountains or large buildings in the scene; presumably from the plot, there aren't any nearby. One of our guys hears the enemy's voices, coming from the side. They turn around and spot the enemy party - maybe half a dozen men - a great distance away. We hear the enemy soldiers' voices at a reduced volume but clearly, and with a lot of complex interior reverb. If any exterior shouldn't have reverb, it's this one. Snow sucks up reflections, and the only things that could have been reflecting sound were tree trunks. Long distances in air cause high frequency attenuation from friction, which is why very distant thunder rumbles rather than claps. Perhaps the attenuation wouldn't have been as great as usual because the cold air was denser than normal... but there'd be some. This wasn't a case of an unrealistic effect being needed because reality sounds strange, like the necessity to sometimes put a 'whoosh' under a rocket ship in a vacuum. (Or to ignore the speed of sound [in a vacuum?] when blowing up a planet.) Level and eq could have sold the distant dialog, just like it does in a lot of other films. So, soundies: 1. Is exterior wet reverb (as opposed to a few distinct slaps from buildings) becoming the new normal? Are we back to the early days of talkies, when outdoor dialog was pushed through the studio's echo chamber because "everybody knows there are echoes outdoors"? Are there other current examples? 2. Has this come up when you're mixing a film? If so, what was the discussion? What arguments did the director have other than "just do it"? 3. Or am I a curmudgeon for still believing in physical laws?
  2. I don't have done a project with high amount of production sound effects like rifle guns, explosions etc. I am always curious about the collaboration between production sound department and post production sound department for this. Not only for feature films, but also for television series which the time for editing, mixing etc it's more tight.
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