Ten thousand tons of boulder smashed the half-orc army, Martian creatures splashed, proton backpack sprayed flames, nano-alloy door opened the hand brake … Have you heard these sounds?
These future voices, which have not yet appeared in this world, are the problems that sound effects sci-fi movie sound engineers need to solve. But the picture of their daily work is not sitting in the editing room and turning the knob, but going up the mountain and down the sea, deep into the wilderness, capturing all the strange sounds in the world.
Making the Future Universe with Tatter
The Battle of the Plain of Plains in The Lord of the Rings can be described as an extremely spectacular battle in film history. There is a scene where a trebuchet lifts a villa-sized wall of the city and throws it at the enemy. When the rock hits the ground, a series of grunts similar to squeezing squeezing are made, reminiscent of the sound of mixing meat with dumplings during the New Year.
Later I learned that it wasn’t really a boring association for children, but a habit of many science fiction movies-in Terminator 2, the sound of liquid metal man T-1000 breaking through the iron fence from a jailbreak came from a box of goo Mumbled canned meat that slid to the ground. So Kerry Redstrom, who won the Oscar for best sound effects, is particularly proud: “Industrial Light and Magic uses super expensive expensive computers for special effects, and I only use a box of cans.”
In fact, these future worlds Shocking, the source may be cheaper than a 75-cent can of meat.
The engine sounds of various high-end spaceships in Star Wars must come from the beeping mixer and electronic sound library? However, sound master Ben Burt found that the moaning sound of the air conditioner in his motel was appropriate. Luke’s “chatter” of the overland airship was captured by a squeezing plastic vacuum cleaner pipe while squatting by the San Francisco Bay Highway. The lobster man in “The Ninth District” made a dissatisfied and horrified “click” sound during the inspection, which actually came from the sound of the staff when they smashed a large pumpkin.
Where did the roar of 60,000 skulls come from during the flood? The sound effects engineer in “The Lord of the Rings 3” tried all kinds of methods, including pouring the whole box of coconut shells to the ground. The results were not satisfactory. Finally, he rented out 10 kilograms of walnuts to solve the problem: “One kilogram for half a day! “But, is that the soul of an ancient rebel? !!
Under the guidance of nonsense director Peter Jackson, the entire “Lord of the Rings” sound effects team is so unruly. The crackling sound of Yanma’s body comes from the concrete block scraping on the ground; the scream of the spirit is not scary enough, Jackson strongly recommends his wife: “Go to Frank, she shouts better.” Finally, this director’s wife’s The scream of terror, mixed with the cries of animals such as donkeys, constituted the most scalping, hacksaw-like vigilant roar in Middle-earth. The great thing about a sound engineer is that he can make all the sounds of the whole universe out of tatters.
Voice Hunter’s Crazy Everyday
”Did you ever hear the savage sound of the forest tree stepping on the forest?”
”No, how about you?”
”I didn’t do this?”
Similar conversations, almost all science fiction and magic movies on the first day of filming Appeared before. In 1975, Ben Bert spent a year creating the voice of the universe in Star Wars. He said: “It’s unusual to ask someone to create a special sound for a film, and then George Lucas told me that you use this microphone and that recorder to collect all the interesting sounds you can think of coming back.”
Unlike a mixer who wears headphones and sits in the editing room, the sound engineer does all the rough work. Ben Burt began to visit zoos, farms, and military bases to collect sound. Often it is a few big men (or girls), wearing big rubber shoes, dirty sportswear, carrying a microphone, a recorder, and a lot of tattered mountains, wading mountains and climbing into the ground, like a group of wilderness hunters, but they want to hunt for sound .
Recorded footage is usually weird like performance art: slap with a hammer on the grass, shake sheets in the strong wind, paddle water with various instruments in a dirty river, and lie on a ranch railing to try to communicate with the cattle.
”In case you can’t record the right barking dog, you have to do it yourself,” said the sound engineer David of the Lord of the Rings. When recording the footsteps of the tree spirits, in order to create the sound of revenge when the tree spirits walked through the decaying forest, he went home and chopped 50 trees.
The studios of dynamic onomatopoeists are like giant rundown factories. It is usually a small warehouse filled with hundreds of wood, cloth, plastic, iron cans, rubber tubes, cement, gravel, strings, rubber toys, swords, armor …
but sometimes the city is too noisy. When monsters roar in spaceships, jungles, and caves, the synthesized call cannot be mixed with the noise of the human world. Therefore, they had to pick up equipment to search for no man’s land, such as a cemetery in the middle of the night, and an abandoned bomb shelter.
Of course, science fiction movies also need noise. Where are the roars of hundreds of millions of orcs in “The Twin Towers”? Together, Peter Jackson and the sound engineer broke into Wellington Stadium, capturing 25,000 fans who had just won the ball, drank, and had nowhere to go. So the famous Oscar director, like the cheerleader leader, directs fans to brace their feet, shout out spells and dark words, and create sounds that may be used in various movies.
Create fear with sound
Most of the time, the sound effects in science fiction are for fear. For a long time, the unique music of Trementian frequently appeared in science fiction movies, representing the audience’s fear of alien creatures. On Earth Stop Day, the guard robot switches the armor and Tim Bolton’s Attack on Mars both use the treacherous humming sound of Tremen.
Another example is the famous “William’s Roar”. In 1951, in the film “Distant Drums” directed by Raoul Walsh, a soldier was bitten by a crocodile and dragged into the water, making a majestic scream. This call was later used in more than 30 Warner films, including some of the major productions such as “The Fifth Element” and “X-Ray”. For example, Ben Burt used it spoofly in a scene where the storm screamed when he fell. Peter Jackson learned of this, excitedly and deliberately made the scream louder, and insisted that William’s Roar should also be used in The Return of the King.
Ben Burt stepped out of the studio to sample and started the revolution in Hollywood sound design: Now, the sound effects of each movie will mainly depend on the artist’s personal style. Ben Burt said: “I particularly like the sound of old-fashioned machinery.” Now the trend of science fiction sound effects is: When creating a sense of fear and alienation, the sound of explosions, monsters, and mechas is no longer intentionally displayed, but instead it is turned to daily sounds.
Sci-fi movies are quieter than before, and all sound effects engineers are relieved: they don’t have to haggle with the walnut vendors in order to buy materials, torture the stadium owner for a month to record sound effects, or praise the director’s wife’s scream. But the sound of nature is much richer than artificial sound. How to capture 1000 different wind sounds? This may be the next problem for them to scratch their scalp.