Hyper-realistic sounds

Hyper-realistic sounds are sound recordings created for film and television that are over emphatically stated, over exaggerated and overly defined to that of sound reflected in real life.  Hyper realism in Media is an evolving convergence. Multiple creative thinkers draw from each other across platforms to help build the continuity and advancement of the practice.

The elements that often best illustrate these effects are recorded while watching a picture such as footsteps, and are often blown up in both loudness and in closeness that what would normally be expressed in reality. Some of the exaggeration found in films are due to the experience of practitioners finding that average sound playback systems, in ambiguous detail the sound doesn’t offer the affect in which they aimed to create, which is to simply amplify different actions and emotions and feel of a particular place or setting, therefore it is over exaggerated and over expressed. A good deal of the exaggeration still is desirable under the best playback conditions, simply because of the competition for other kinds of sound. 

One film in particular that I feel exploited the arts of ‘hyper realistic sound’ is expressed within 'The Terminator 2' where James Cameron's approach to sound was typically based on hyperrealism. Everything featured throughout all scenes had to be so much bigger than life in order to make the film into one of the most well known, best selling films of that year winning the best sound effects and editing as well as other various awards.

 Within the Terminator 2 every sound effect had to sound like it was infused with strong, bold bursts of high level energy and it had to be magnified to unworldly possibilities in order to for fill the objective of what James Cameron wanted to achieve through this action based, energetic film.

One reason for creating a hyper realistic sound is that there is typically so much competing sound at any given moment throughout different scenes that each sound that must be heard has to be rather over-emphatically stated, just to read through the clutter. For example denotation was expressed through the scene where two sounds of different motorbikes had to be re-recorded to specifically identify the different models of bikes, the re-recorded sound presented from the bikes had to be exaggerated in order for the different sounds to be infused with energy so that the scene presented was to the right standard of this action based film.  Heard in isolation, the recordings seem silly and overly exaggerated but heard in perspective; it implements a more expected, natural balance.  

The dialogue, the music and larger than life sound effects thrown together by James Cameron really shaped the film. I feel because of the work of hyper realistic sound, once empty, ineffective scenes, I now feel are very effective and full.

James Cameron had a very distinctive idea of how he wanted to feature music and effects in each scene. For example at (0.07s) within the film, we observe a truck crashing into a brick bridge wall  then descending into the ground. This sound had to sound larger than life and the sound engineer had to make a crucial decision in how to do this, for example by increasing the EQ level and changing the pitch so the sound heard is much more effective and loud. This scene contains larger than life sounds that I feel from an audience perspective would come across as being injected with a shot of testosterone, that helped intensify this action scene, so therefore the audience are taken back and affected by this scene so the action of the truck crashing in to ground is fully portrayed, really capturing the effectiveness and realism of how it would come across in an accident in reality .

Another example later on in the clip is when the terminator fires his gun, it makes a massive bass filled boom sound effect, which wouldn’t necessarily sound quite so deep and full in real life.  This moment has been aided with a number of dynamic based tools such as compressors and limiters that will make it sound a lot tighter helping this section of the scene stand out more from the rest of the sound, which is going on behind it.

Another film in its entirety that features the works of hyper-realistic sound is within 'the Da Vinci code'. Rob Howards approach within ‘The Da Vinci code’ features smaller hints of hyper-realistic sound than of that projected within ‘the terminator 2’. Nevertheless, having multiple renditions of hyper-realism throughout the whole film, altogether implements the works of this art form within film as it helps bring reality back to a quite farfetched production.

In the trailer they used scenes with hyper realistic sound is used, they do this because intensifying the sound to an almost unnatural level can intrigue the audience and pull them in as if they are in the scene with the characters. In the Da Vinci code, they used it to grab the audience and make them want to watch the film. For example at 1:16 when the priest is running and is breathing heavily, both the sounds have been made louder to create a feel of anxiety and nervousness towards the audience.

Another point is at 1:27 where a gunshot sound is louder that what would normally be projected in reality to break the silence and helps create the mood of mystery and tension. These two points are better at creating moods than the Terminator 2 clip as they have more mystery to them.

 

 

Lastly hyper realistic sound is presented in ‘The dark night’ whereby we observe in the first scene, the carlike object (batmobile) start to vibrate and parts of it start to move. Within this scene at 0.07s, there is a low rumbling bass sound that is barely heard by the audience thus creating suspicion to the viewers to what this low drone sound is. This sound is low pitched and has been panned by sound engineers to help the audience get a sense of the vibrations travelling through a wider space.

At 0.40 seconds, we see a truck turning right transporting the camera with it creating a deep engine resonance by lowering the frequency and pitch. This correspondence with image and sound is created through panning the sound to the left, giving a feel of full 360 stereo sound. Through the truck turning we are able to understand the different effects that show the diversity of sound engineers as all these different effects once implement together make for an exciting, thrilling experience because of the different ways in which we project hyper-realistic sound.

Another effect projecting hyper-realistic sound is at 1.04, where the bike speeds through a tunnel, only isolating the sound of the robotic engine. There are many other competing sounds within the tunnels which are a most common reason to why sound engineers incorporate hyper realistic sound to film. For example within this scene there are cars that are situated and many other evolving sounds within the tunnel, but with the effect of hyper-realistic sound, by boosting the volumes level, increasing the frequency and pitch of the bike and muting other noises that can differ the effect of the bike, all help aid to batman’s character as it gives a sense of depth and aggression towards him and brings short, fast tension to the chase scene.

Micky Mousing

‘Mickey Mousing’ is a film technique commonly found in animation that syncs the accompanying music with the actions on screen.  It is where the music almost completely works to mimic the animated motions of the characters. Mickey Mousing may use music to reinforce an action by mimicking its rhythm precisely. For example someone slipping on a banana skin whereby we hear a descending scale followed by a cymbal crash, thus helps is easily understand the event occurring. This can also be just as effective if used imaginatively throughout the film but it is preferred, if using this artistry to use it in the childlike manor by mimicking the exact actions or event.

Many critics and film composers look down upon Mickey Mousing with the idea being that it is lazy, cheap and old fashioned for a soundtrack to ape the visuals, but with composers this effect is still in use in movies, mainly within animated film. At times, it is nice that we don’t really notice the music but at other times it may be more important for the music to have more of an impact. The technique of Mickey Mousing is a very obvious way to help the viewer relate to what is going on onscreen, by patronizing the audience but if used well and in a creative way, the results achieved can be rewarding. 

An example of this is within an old Popeye cartoon where nearly all the onscreen action has it’s own musical note or phrase. Like at 0.31 when ‘Popeye’ is observing the man on a boat, we see micky mousing in its entirety as we hear the ascending and descending of sound going through on a string instrument as he shakes his pan. As well as this, at this point within the animated film we see him change to turning an orange grinder and the sound jumps in a swirly loop formation using some sort of wind instrument.

Popeye the sailor man featuring 'Mickey Mousing'

 

Mickey Mousing is not only used in cartoons, but in live action too. Here a clip from the 1933 film, King Kong where the ‘grabs’ and the ‘stabs’ are in sync with the music. This scene at uses Mickey mousing effectively as it exaggerates the movements of both Jack and King Kong, in the beginning it uses a series of screeches made by string instruments to show the drastic movements in the scene from the stabbing movements made by Jack and when King Kong surrenders. It is also used when Jack goes to move away, a note is plucked after each step he takes.

King Kong featuring 'Mickey Mousing'

Mickey-Mousing can be difficult to listen to outside of the film because it can disrupt the flow of the music. But when done properly, it can really enhance a scene and make for a really interesting listen. For example within Tom and Jerry a lot of descending and ascending sounds are made using  woodwind instrument going from high pitch to a low pitch in a scale sequence to project the cartoons movements. A scene which displays this (0.33s) is when Tom removes the pillow from Jerry causing Jerry to fly into the air and fall quickly. This motion is supported by a quick swift rising sound of a high pitched whistle instrument. Another scene following this at 0.44s where Tom sends jerry sliding down’ the hammock into a puddle of water, this is heard and affected by the contrasting sound moving in a triad sequence but ascending upscale in a high pitched manor. This motion would normal be supported by a declination in sound moving it down scale to mimic the effect of Jerry sliding downwards, but to create suspense and to capture the audience’s attention, this contrasting affect is used.  This artistry is effective is this animated film because the music imitates the actions that are happening on the screen so it emphasises the movements of the characters.

 

 

 

 

The same applies to this Looney tunes clip as ‘Daffy duck’ fights character ‘Elmer’ in a boxing ring whereby all the punches and blows are mimicked by sound created by various instruments. For example at 4.24s, ‘Daffy’ punches ‘Elmer’ upwards in the jaw sending him up, where the sound that demonstrates this mimicked that of what is heard at fairs where a high pitched ascending sound is made. As well as this at 4.27s we hear a big bass resonating boom sound where he gets hit in the stomach. This reinforces the action and moment within the animated film.

 

In a slapstick cartoon, this can be used as a complete substitute for the normal sound effects. In live action this is more commonly used alongside the normal sound effects, making it seem like a choreographed dance. In either case the effect is usually comedic, whether this was intentional or not, which is why the term is often used as a pejorative in film scoring circles. While it was prevalent in the early days of animation due to how efficient it was for the animators to time the animation to, it soon became derided as cliché and corny, and its usage decreased considerably in the following years.

 

 

Sound and image within Charlie & the Chocolate Factory

 

 

 

 

 

Timecode ref 01.00.47 19.78

 

Title introduction

 

Within the movie ‘Charlie and the Chocolate Factory’ a key moment within both image and sound was supported through the event leading up to this specific time point in the movie, where by the image ascended upwards as the screen followed the high raised chimney in a spiral affect, synchronous to the music that followed. From this point, we reach the first scene where the background title is introduced as the screen has a sudden fall into chimney as what appears to be a swirl movement of chocolate as the camera falls into the chimney. This is a visual affect that creates the illusion of the camera-entering deep into the chocolate, though actually the camera is fixed into one position. This contrasting effect of putting the spiral music and spiral image effect side-by-side super imposes it all and is an effective watch.   

As the chocolate moves in a spiral effect down the chimney, the music heard is loud, with an accelerated pulse of rhythm and beat. This obvious sense of beat creates a high sense of energy as volume increases though the declination in image. I feel this particular section that attains both drums and a choral sound. This combined creates a mimicking effect as if we are entering a strange place, which makes the audience feel unease and intensifies the mood. This thick diatonic sound created adds a blend of layers to this section combining an organic vocal section which moves on top of a constant pulsation on drums.

  

Timecode ref : 01:02:30 03:30

 

Golden Ticket introduced

 

Another key moment displayed within the movie ‘Charlie and the Chocolate Factory’ is the first sighting of the ‘Golden Ticket’. Firstly, the moment leading to this particular event, was a thin ascending diatonic scale sequence effect.

 This bitonal effect has a high pitch with alternation in key, which raises a sense of high suspense where by ‘suddenly’ the music stops all together, for when the Golden ticket is introduced.

This key moment with both sound and image creates a big affect as it draws the audience to this one key moment where it intrigues the audience, where they are left with the anxiety to anticipate what will come of the ‘golden ticket’. From this moment on the story is then to be portrayed.

 The sound formed for this required a resonation of a brass horn which created the effect of a thick, accelerative, ascending reverberation on top of a thin metallic violin sequence. These sounds combined created a good deferment for when the sound drops suddenly to silence. This is a contrast for when the ticket to be display to the audience on top of the bar of chocolate, this is super imposed. From then on we are able to hear high pitched, thin twinkly sounds, which are created almost to magnify this childlike moment in the movie.

 

Timecode ref : 01:03:27 26:44

 

Trucks embark on their journey

 

Another key moment within the title sequence ‘Charlie and the Chocolate Factory’ is when the trucks are loaded up and  embark on their journey to deliver the ‘Wily Wonka’ chocolate.  When the trucks are being loaded, ready to commence, the visual sound displayed is a soft 4 beat pulsation on the drums where the last beat is left to resonate.

 On top of this sound, a high pitched thin violin drone plays through a mid pitched cello drone. From this point on the trucks are loaded and the gate opens to an ascending orchestral sound. This alternation in sound has an evolving sharp timbre and has an emotional changing harmonic sound.

 From this point on the trucks commence on their journey where a military sound is created to project the theme of work and to mimic the sound of machinery in action.  This sound is created through a marching resonance on an orchestral group of drums. It is a diatonic sound with a repeated beat throughout and on top of the thick French horn that plays in ascending scale sequence with a bitonal effect that was first introduced as we climbed up the chimney in a spiral pattern before entering the factory. This repeated echo prompts the sound as it is embedded into our memory now to be the theme of the ‘Charlie and the chocolate factory’ story.

 

Foley sounds

Foley

 

Foley is a technological process by which sounds are created or altered for use in a film, video or other electronically produced work. It requires a Foley artist who is situated in a studio and recreates or alters the sound projected in a film.  Foley requires major attention to detail, for example the type of shoe presented in the scene such as trainers of high heels presented on the type of textured ground seen in the clip i.e. grass, mud, concrete, brick or laminate flooring etc. All these different types of sound that would be created are re-recorded to really amplify the sound so when put into perspective within the film it adds such an effect, building texture, timbre and dynamics. For what typically could be expressed as an empty scene without works of Foley, now when Foley is fully applied, subtle sounds such as the touching of clothing, hands on tables and the different surfaced objects, we are able to amplify the effect and the impact in which sound engineers aim to create within film is for filled.

 

 Foley sounds are added to the film in post production after the film has been shot. The need for replacing or enhancing sounds in a film production arises from the fact that, very often, the original sounds captured during shooting are thwarted by noise or are not convincing enough to emphasize the visual effect or action. For example, fist-fighting scenes in an action movie are usually staged by the stunt actors and therefore do not have the actual sounds of blows landing.

 

 The imitation of daily sound effects which are added in post production to improve the quality of audio for films, television, video, video games and radio, in the best quality productions is suppose to be so well integrated, that it goes unnoticed by the audience.  Without these crucial background noises, movies feel abnormally quiet and uncomfortable, therefore the Foley artists look to recreate the realistic, natural ambient sounds that the film portrays. The viewers should not be able to realize that the sound was not actually part of the filming process itself.

 

 

 

 

 

The props and sets of a film do not react the same way acoustically as their real life counterparts. Foley sounds are used to enhance the auditory experience of the movie.  By excluding these sounds during field recording, and then adding them back into the soundtrack during post-production, the editors have complete control over how each noise sounds, its quality, and the relative volume, its effects add depth and realism to the audio quality.

 

An animated film that features the works of Foley in its entirety is presented within 'Ratatouille'. This film really expresses the art of Foley, as when extracting the background music as well as the voice over’s, we are able to really identify how much Foley impacts the film as all the different sound effects that come together, such as the simple walking of the rats upon the different textured surfaces, the touching of the different surfaces such as table tops, food, hair etc, altogether with the aid of Foley helps to amplify and create a sense of reality within scenes as we able to capture the pragmatism of a cartoon based movie.

 The “Feet” category entails the sound of footsteps. so in example when we see the chase of the 'man' and ‘rat’ down a concrete road in Italy, in actually fact the audience hears are two Foley artists stamping their feet on a concrete slab in a recording studio, using shoes for the man and a thin metallic object to create the scratching effect of the rats claws on a hard dense façade. This is completed whilst watching the footage to make sure that their foot strikes happen correspondent to the actor’s steps on the screen. Foley studios carry many different types of shoes and several different types of floors to create the footstep sounds. These floors vary from marble squares to gravel and rock pits. Creating the right sound of footsteps greatly enhanced the feel of this scene as it helped the audience get a better sense of the realism created within the animated film. Ratatouille directed by Brad Bird's, is a family adventure movie, it is a rare animated film that could just as easily captivate an audience full of childless adults. Granted, the world of haute French cuisine is an unlikely setting for a kid-friendly flick, but Bird’s makes it irresistible.

 

 

 

 

The story doesn't have the emotional depth of The Incredibles or Finding Nemo , but the animation is every bit just as impressive. Every scene of the chefs shredding, peeling, dicing, and stirring is vibrant and layered with the help of Foley. it helps create moments within the film which really captures the audience’s attention. For example:  the moment Ego tastes the  dish, due to the works of Foley every hint of movement and sound emulated at this point in the film , the audience is able extract a visual reference that exerts the surprise of the astounding, delicious taste that ‘birds’ wanted the audience to sense.

 

 

 

A non animated film that features that work of Foley is presented within ‘Kick ass 2’. This dramatized film features hints throughout all scenes to fully implode a chaotic effect towards the audience.  The small hints of Foley throughout all scenes are done to maintain a sense of realism in the film and suspend the audience's disbelief. The effect that Foley brings to ‘Kick ass 2’ is that it amplifies movements, sounds and actions shaped by the actors to magnify the drama happening. The smaller hints of Foley helps de-clutter lost actions and sounds and help the audience identify the important parts of the film because it is an energetic, upbeat film with a lot of effective dramatic scenes so with the work of Foley small parts of the film that would go unseen and unnoticed are given the opportunity to be known. This helps altogether affect the film to be one of the best, wild films yet that makes the audience want to experience it for themselves.

 Director ‘Jeff Wadlow’ aimed to create this experience for the audience and with Foley in scenes such as (0.21s) when the girl is kicking the guy in a play fight experience, we are able to hear a blown up sound which was rerecorded to capture the sound of the trainer shoe knock against the boy’s body. It creates the same effects just like when seen in animation as it helps fill the scenes are make all sounds, movements and actions noticed to a non action thriller based film.


 

Another example of Foley within Kick ass 2, is at (0.36s) where we are able to hear the sound of the ‘numb chucks’ pound onto thick jackets. This sound heard is deeper and louder to what would be actually heard in real life. This is due to the rerecording of the ‘pound’ in a studio and because of the material of the jacket; the sound is quite muffled and doesn’t resonate/vibrate far. This effect helps capture smaller elements such like this one, to help bring the actions and movements of sound back and give them the energy they would have lost through the filming stages.

 

 

 

 

 

Lastly the effect of Foley is also presented with ‘Cat woman’. This action adventure film by Director ‘Pitof’ fully captures the artistry of Foley because it demonstrates each different action and sound by increasing the volume, pitch and dynamic of the sound through rerecording. For example, Foley is at work at the scene where ‘Halle Berry’ (Cat woman) walks across a building roof where we can hear the sound of her high heeled shoe step onto a concrete textured surface floor. This dramatizes the scene, isolating that sound of her footsteps to fill up that particular scene to create suspense and tension for the audience as they watch in awe as they watch her confidently walk on the edge of a high raised building.

 

 

 

 

A bad example of Foley not fully in use with ‘Cat woman is at 0.01 (Cat woman vs. Laurel Hedare) where towards the end of the film at the last fight scene when character ‘Laurel Hedare’ enters the room, where we are able to hear the work of Foley isolating the sound of her heel on top of a marbled surface floor. This effect helps build up the tension but is shortly removed and no longer heard once cat woman enters at (0.21) whereby the sound of ‘Laurels’ heels are not heard at all. This shortly distracts the audience from a once filled dramatic scene, to an empty’s lost scene with no footsteps or narrative or speech. By doing this is looses the effect and empties the scene, losing the audiences capture to it and their suspense.  Therefore by not fully adding the works of Foley throughout all scenes is can irritate the audience as it builds up other motions and movements but not all therefore subtracting other great moments in film and sound.

 

 

 

 

 

 

Overall Foley is used effectively to create enigma for the audience. It can be said that the Foley is a hyper-realistic sound, as it is over exaggerated to confuse the audience/ and remind the audience that something else is occurring. The nature of this hyper-realistic sound not only makes the clip enigmatic but also links to the media narrative that is in use. It can also be said that the Foley is a point-of audition sound, as it reveals the sounds that the actors can hear.