Sebi Posted March 15, 2022 Report Share Posted March 15, 2022 Hey everybody! I have a little research question concerning production sound throughout the history of cinema since the first “Talkies”. This applies to sound-post as well but I’m aware that there are less people on the forum with that focus. I am actually still studying at university and while I’ve been pretty busy with projects over the past years I’m now focusing on finishing my master’s thesis. A main subject of it is the influence of technical progress in audio equipment on the storytelling through sound as well as the factor of limitations/constraints in creating sound design. Which effects did certain developments have on the work of production sound mixers/sound editors/re-recording mixers and in which way were they influential on the narrative and the way movies for cinema were made in general. There’s more aspects I’m going to look into but I hope you get the general idea already. Even though I’m way too young to have any experiences with a Nagra recorder, it’s not really a big deal to do the research on the equipment itself. There’s good documentation and I already enjoyed reading some of the “Nagra stories” in the very rich thread here on JWS. We also have some historical devices at university. What I’m curious about is some individual perspective of (former) professionals on how certain tools have changed your way of working and which were maybe the most influential improvements or which “revolutionary” developments weren’t actually changing anything. Or were some major events not even changes in the sound department but rather other departments which then effected recording sound heavily (for better or worse)? There’s probably as many opinions as people but this is exactly what I won’t find in the books. I’m also anticipating some differences between the US and Europe for example. I have a feeling that especially in the 60's most of the dialogue in US-cinema was production sound while a lot of French Nouvelle Vague and Italian movies where using mostly ADR and I even read that some didn’t even record production sound at all. Whether this was simply an artistic choice of certain influential filmmakers or if it was rather a lack of satisfaction with the possibilities of production sound at that time is another interesting topic I want to look into. Every experience and opinion is much appreciated. Thanks a lot and best wishes from Hamburg! Sebi Quote Link to comment Share on other sites More sharing options...
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