Name: フォード対フェラーリ」サウンドエディターが映画のミキシングサウンドを解説｜Vanity Fair (‘Ford v Ferrari’ Sound Editors Explain Mixing Sound for Film | Vanity Fair)
Uploaded: 2021-01-14T09:41:31.000Z
Duration: 14 min 12 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

動名詞

I started working on the film before production began.

過去形

There was a small child living with my parents.

I'm the supervising sound editor for four versus Ferrari, David DeMarco's re recording mixer and sound editor.

Ford versus For Today We're gonna be breaking down.

How sound works in film on how we use it to tell a story I like to describe sound at least movie sound as, ah, tree of Sound.

It has three main branches dialogue, music, sound effects.

Those branches are extensions of different kinds of sound.

Later, music has got score and source music.

Sound effects has got a whole lot of different branches.

Fully backgrounds, atmosphere, hard effects.

There's a whole lot of different sound editors, each one cutting different things in different locations.

The difference between a sound editor and the sound mixer is the sound editor will assemble the sounds and cut them, and there may be more than one sounded.

If it could be 10 each person, then it will be responsible for certain aspect of the sound.

The Sound effects editor will compile sounds go on record sounds put.

Sounds together to picture at a point when the film is ready to show, we're gonna have to mix these together.

Only at that point to these three elements come together in a room like this.

They are then put together in a sort of, ah, recipe that the mixer would then be the controller of the flavors of those sounds.

And then he'll feature one sound over another music, maybe stronger here.

That recipe that is in his hands as a mixer healed and control the old roll soundtrack of the film, so sound mixing is bringing dialogue, music and sound effects to a room like this.

We play through the rial and balance and mix so that they play in balance well against one another.

A sound supervisor Oh, will be hired on the show.

He will put a crew together, and he works closely with the director.

They'll speak above the vision of the film and what kind of sound the director wants for the movie.

And then we'll start putting a soundtrack together.

I was brought on the film early to work on what we call a previous previous is an animated rendition of the scene made by computers.

It's kind of, Ah, moving storyboard, and the director comes in and directs it.

I agree they had to have sound tohave the cars have any kind of, in fact, on screen.

I came in to make a ll the sounds for the animated previous so that he could help figure out what he's gonna actually do on the day when actually came to recording the cars.

And so has my job is to get that stuff realized in this case, being fortunate to work with him four times.

It was great to be able to kind of anticipate where he's going to go just because of previous knowledge from earlier films.

Once dialogue, music and effects are in a good place, then we all come here to the stage.

It's only then we can judge whether they're gonna work well together in this environment.

He'll he'll mix it together with director would then now be able to hear everything for the first time in this room, all acoustically treated and we can create a theater environment in here.

It's really remarkable that some of the hard work that you go into making sound gets in this room, and it's not good enough.

And then we have to go back and redo it because it reveals the true sound.

That's why everything that comes out of this room sounds great because we've been there.

Now let's look at some clips on the mixing stage.

In the beginning of the movie, Carroll Shelby talks about how a man becomes one with the machine.

Here's an example of where the man becomes part of the race with machine.

He's thoroughly concentrating on his race on, although it's a very intimate moment, it's snapped out when reality comes back in, the car doesn't evasive maneuvers.

So not only is it important when the sounds there was also the lack of sound, and we get to focus on other sounds that are not the race sounds his breaths.

There's a kind of a drone going on represents what we hope is an internal moment.

This is a lack of sound that makes the next sound more impactful.

So in order to try to achieve some kind of realism of racing and open cockpit like this, we had this heavy buffeting wind, which also gives way to the design effects that is all around us in the room and at most, and I can play that with the car.

This is the Dolby Monitor that allows us to see where I'm placing things in the room like those balls light up when program is hitting them, and that's where I place the wind in the room.

It gives me a view of where place things and what's hitting things, when and where practical effects like when the car crashes and comes flying.

Bias that I'm using, at most to take us through the room is the car would uncle over us from 10 miles 22 meeting.

Of course, the car crash comes flying over our heads.

Let me just show you what music and dialogue we're doing through that same sequence.

So these tracks here all makeup, Ken's car, these air, the other race cars on the track.

From here down, this entire suspensions break squeaks, squeals and things like that.

You know, there's a lot of elements playing here.

We can't play them all engines and backgrounds and crowds of that Some feet.

You're not gonna hear feet in this scene.

We can hear the feet in the Ford scene where Henry Ford second talks about getting people to work for him in 18 99.

I was walking home from Edison Illumination after working a double shift.

He had himself in idea that changed the world.

In this clip, Henry Ford addresses the employees of Ford Motor Company on the voice needed to have the same impact as his personality.

We want to make sure his voice boomed throughout the factory.

I don't think you'll notice that it's heavily treated because it sounds right for the man and it sounds right to the environment.

So this is how he initially sounded in 18 99.

My grandfather, Henry by God, Ford, was walking home.

So then we add that verb to him to carry through the plant.

In 18 99 my grandfather, Henry By God Ford, I was walking home.

We also felt that defeat his fee walking would also expressed some of his personality.

Things need to have character, and they need to have more than just being okay.

Every sound has an opportunity to create a character and character development and tell more of the story.

There was no feet actually recording attracts least nothing that was very, very useful.

You could do the rial sound of leather on what we think is concrete.

It didn't sound right, so the next idea was a foot leather on wood.

So the only thing that really sold the idea of a very forceful person in the strong personality was feet on metal.

Now don't look closely because there's no metal on that gangplank.

But there is now because his feet now sound like a man who's in charge of a multinational corporation.

This is basically why were employed to put sound, and it seems like this.

If we just use the production, it would It would be really good scene, but the character development that we want to push, he's done entirely.

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フォード対フェラーリ」サウンドエディターが映画のミキシングサウンドを解説｜Vanity Fair (‘Ford v Ferrari’ Sound Editors Explain Mixing Sound for Film | Vanity Fair)

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bias

scene