Diagetic, Non-Diagetic and Foley Sound
Diagetic
Diagetic sounds are any sounds that are recorded live by the actors. These would most commonly be the actor's lines of dialogue, or any other sound effects that are easy and simple enough to record live (an actor's dialogue/a door slamming etc.) as a pose to being created later on in the filming process. They could still be edited later, but diagetic sounds are simply sounds that are not artificial, and are real and created in the time and place they are seen/heard in the actual movie.
Jack Nicholson and Shelley Duvall's dialogue in this scene from Stanley Kubrick's The Shining (1986) is an example of Diagetic Sound, as their dialogue was recorded live, as opposed to being created at a later time. It exists in the world we are seeing, and can be heard by all of the character by present there.
Jack Nicholson and Shelley Duvall's dialogue in this scene from Stanley Kubrick's The Shining (1986) is an example of Diagetic Sound, as their dialogue was recorded live, as opposed to being created at a later time. It exists in the world we are seeing, and can be heard by all of the character by present there.
In this second example from Paul Thomas Anderson's The Master (2012), Freddie is locked in a jail cell after having been arrested. His temper gets the better of him, and he proceeds to smash up his cell as he and Lancaster shout at each other. These sounds (Freddie being dragged through the corridor, the cell door being slammed, Freddie smashing the toilet and Freddie and Lancaster shouting at each other) are all Diagetic sounds. These were sounds that were recorded as they were actually made. This is because the film's director wanted to capture the mental state of Freddie's character in a way that felt as realistic as possible to audiences. Creating these sounds within that same space also allow for some of the sounds to echo (e.g. the slamming of the cell door), which adds to the scene's realistic feel.
Non-Diagetic
Non-Diagetic sounds are recorded later on in the editing process. These are usually sounds that would have been too difficult to record live because they are too quite or complicated. The most common examples of Non-Diagetic sound would be special effects (gunshots, explosions etc.) or soundtrack (score), as these are sounds that are heard during a scene, but not necessarily recorded there and then. Narration is also Non-Diagetic as, although it is heard during the scene, it is recorded separately.
Morgan Freeman's narration from this scene in from The Shawshank Redemption (1994) is an example of Non-Diagetic sound as it accompanies the scene, but is not actually present in the scene being filmed. It does not exist in the world that we see, and can only be heard by us: the audience.
Morgan Freeman's narration from this scene in from The Shawshank Redemption (1994) is an example of Non-Diagetic sound as it accompanies the scene, but is not actually present in the scene being filmed. It does not exist in the world that we see, and can only be heard by us: the audience.
In this second example from Steven Spielberg's Jurassic Park (1993), after the park's security is shut down, the Tyrannosaurus breaks out of its pen and attacks the park's visitors. This is when we hear the iconic T-Rex roar for the first time. Because the T-Rex used to film this scene was only an animatronic, it could not produce its own sound. So, the film's designer had to create sound appropriate for the animal's roar that could be implemented at a later date. Gary Rydstorm, the film's sound designer, created the T-Rex's roar by combing a number of different animal noises (e.g. whales, elephants, tigers and alligators). Because this is a sound that was engineered at a later date, and did not exist within the scene's diegesis.
Juxtaposition
This is when two things are placed together with the purpose of conflicting with each other. Sometimes, a filmmaker will choose to place a sound and a scene together that contrast with each other, creating juxtaposition. A filmmaker may choose to do this when creating a Horror film, as a means to create a feeling of discomfort and unsettlement with the audience.
In this example from Insidious (2009), James Wan uses juxtaposition to create an eerie atmosphere that unsettles the audience. Because the accompanying soundtrack is so tranquil and relaxed and yet the images are so terrifying, a contrast is created here that discomforts and disorients the audience. It's this terrifying contrast that makes this scene so memorable.
In this example from Insidious (2009), James Wan uses juxtaposition to create an eerie atmosphere that unsettles the audience. Because the accompanying soundtrack is so tranquil and relaxed and yet the images are so terrifying, a contrast is created here that discomforts and disorients the audience. It's this terrifying contrast that makes this scene so memorable.
Foley Sound
This is the process of recording a required sound later on, typically during post-production, to further enhance the film's quality. Because it is not recorded live and on-set, Foley Sound is a form of Non-Diagetic sound. For example, the sounds of character's punches during a fight scene or the sound of an explosion in an action movie are often sound effects that have been added later on in the editing process, as this is much easier than recording theses sounds live on set, and can often be made to sound more realistic.
In this example from The Expendables (2010, Foley Sound is used to make the fight scene that happens here appear more realistic by creating the appropriate sound effects and adding them to the scene. Punches, bullets hitting flesh and knives cutting flesh are all sounds that have been created through Foley Sound, as they are not sounds that can be made on the spot easily or safely. They require time and effort to be made to sound as realistic as possible, allowing for a better viewing experience for audiences.
Mood and Meaning
In Film and TV, Soundtrack is used to create different moods and meanings and to establish different atmospheres within a text. For example, a soundtrack could create the feeling of fear and build up tension within a scene through its use of chords. A frightening and tense atmosphere can be created using dissonant chords. These are chords that feel unstable in their movements. They are used in horrors because they often reflect the panic in a Horror film, and amplify the tension. Consonant chords feel much more stable than Dissonant chords, and feel much more perfect and complete. They can be heard in Children's films, Family films and Comedies, due to their soft and gentle feel.
Example: http://www.tcm.com/mediaroom/video/201392/Psycho-Movie-Clip-Drive-Part-2.html
In this example from Alfred Hitchcock's Psycho (1960), Bernard Herrmann's score plays as Marion drives through the rainy night, moments before pulling over at Bates' Motel. Herrmann's score is an example of Non-Diagetic sound within the scene, as it is part of the film's soundtrack, which has been recorded at a different time and attached to this scene. The score uses dissonant chords throughout. The sound of these unstable chords reflect Marion's state of mind at this time in the film. It suggests that Marion could be mentally unstable, which concerns the audience, and makes us fear for the character and her safety.
The voices within Marion's head are also Non-Diagetic, as they have been recorded at a different time, and inserted into the scene during the film's editing process. These are the voices of the characters Marion has encountered throughout the film so far (the policeman, the car salesman, her boss etc), all of who are discussing their theories about Marion and her intentions. The way these voices echo and their volume increases suggest that Marion is struggling to ignore these voices. These voices create a feeling of paranoia for the audience, as we now know that there are people chasing Marion, and that they are aware of her crimes.
Together, Herrmann's score and the voices in Marion's voices give he audience an idea as to the character's state of mind. We can tell that she is unstable, that she is paranoid about the people who might suspect, and that her fear of being caught is only growing as Herrmann's score speeds up and the voices in her head become louder and louder.
The History of Foley Sound
It was Jack Donovan Foley who began what is now known as Foley art back in 1927. As a member of the sound crew working on Universal Studios' Show Boat, it was Foley's job to produce the required sound effects, as the microphones being used for the filming of the movie could only pick up dialogue. This meant recording sound effects such as footsteps and doors closing in real time. Jack Foley continued to create sounds for films up until his death in 1967. Although his methods are still used in the industry today, the art of Foley has progressed as recording technology has progressed. Sound effects do not have to be recorded in real time. Also, hundreds of props and digital effects are now available to artists to employ.
Mood and Meaning
In Film and TV, Soundtrack is used to create different moods and meanings and to establish different atmospheres within a text. For example, a soundtrack could create the feeling of fear and build up tension within a scene through its use of chords. A frightening and tense atmosphere can be created using dissonant chords. These are chords that feel unstable in their movements. They are used in horrors because they often reflect the panic in a Horror film, and amplify the tension. Consonant chords feel much more stable than Dissonant chords, and feel much more perfect and complete. They can be heard in Children's films, Family films and Comedies, due to their soft and gentle feel.
Example: http://www.tcm.com/mediaroom/video/201392/Psycho-Movie-Clip-Drive-Part-2.html
In this example from Alfred Hitchcock's Psycho (1960), Bernard Herrmann's score plays as Marion drives through the rainy night, moments before pulling over at Bates' Motel. Herrmann's score is an example of Non-Diagetic sound within the scene, as it is part of the film's soundtrack, which has been recorded at a different time and attached to this scene. The score uses dissonant chords throughout. The sound of these unstable chords reflect Marion's state of mind at this time in the film. It suggests that Marion could be mentally unstable, which concerns the audience, and makes us fear for the character and her safety.
The voices within Marion's head are also Non-Diagetic, as they have been recorded at a different time, and inserted into the scene during the film's editing process. These are the voices of the characters Marion has encountered throughout the film so far (the policeman, the car salesman, her boss etc), all of who are discussing their theories about Marion and her intentions. The way these voices echo and their volume increases suggest that Marion is struggling to ignore these voices. These voices create a feeling of paranoia for the audience, as we now know that there are people chasing Marion, and that they are aware of her crimes.
Together, Herrmann's score and the voices in Marion's voices give he audience an idea as to the character's state of mind. We can tell that she is unstable, that she is paranoid about the people who might suspect, and that her fear of being caught is only growing as Herrmann's score speeds up and the voices in her head become louder and louder.
The History of Foley Sound
It was Jack Donovan Foley who began what is now known as Foley art back in 1927. As a member of the sound crew working on Universal Studios' Show Boat, it was Foley's job to produce the required sound effects, as the microphones being used for the filming of the movie could only pick up dialogue. This meant recording sound effects such as footsteps and doors closing in real time. Jack Foley continued to create sounds for films up until his death in 1967. Although his methods are still used in the industry today, the art of Foley has progressed as recording technology has progressed. Sound effects do not have to be recorded in real time. Also, hundreds of props and digital effects are now available to artists to employ.
In the video above, Foley Artist Noisyid demonstrates the art of Foley, and the effect it has on our viewing experience, by removing the audio from a clip from the film The Brain that Wouldn't Die (1962), and creates his own sound effects to accompany the muted clip. Some of this is done by simply recreating the required sound effects (pouring of water, bottle opening etc.). However, at 1:44, we see Noisyid using a different method to create the appropriate sound effect. The accompany the shot of the lab, where we can see pipes flasks bubbling, the Foley Artist creates the kind of background noise we would expect to hear in this situation by blowing into some water through a star, recreating this bubbling sound effect. He has created the same sound effect in a much simpler and easier way, but the resulting sound effect is so perfect that it allows the viewer to feel a sense of reality within the scene and be placed comfortable within it.
No comments:
Post a Comment