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[Music]
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sound design is uh you know it's it's
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it's it's another it's another tool it's
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another form of expression and because
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we react to sounds on a kind of Primal
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level um it works a little bit the way
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Music Works um a lot of composers will
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tell you that music works because it's
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actually emulating um sounds of nature
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but in a harmonic way uh and a way that
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might be more beautiful or more melodic
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but the sounds you know whether it's
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percussion or wind instruments uh or or
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or synthesizers are creating sounds that
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we relate to on this kind of Primal
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level of course we feel that way about
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uh you know all kinds of sounds and
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whether it's a music cue or whether it's
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a a moment of sound design uh that
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repeating sounds can tell you something
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tell you to to anticipate something
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because that's what's that's what we do
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with sounds all the time you know if if
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you're in a house and you hear a strange
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sound what was it if you're out on a
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street and you hear a sound that's
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unexpected you know you wonder if
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there's a problem uh if if uh you know
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you walk into a into a nature reserve
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and suddenly you know it's the sound is
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open and the wind is moving and it's
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very soothing you know so it's it's uh
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the Great Sound designers are always
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going back to those sort of Primal
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reactions
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[Music]
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great sound
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design often begins in the editing room
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because the editors will start to put
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together a scene and they'll recognize
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that um what's missing here is an
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element of shock and the edit is in the
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right place but maybe the moment's not
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as effective as it should be and they'll
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often put in a sound that will help you
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know prove that the edit point is is
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correct and you know and and and the
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moment is startling if you have a sound
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that sound is is a temp but then your
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sound designers will take those demands
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those ideas that sort of template and uh
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and creatively work their magic and
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great sound designers and and sound
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editors are you know they're like
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they're like sort of like record
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producers you they they you know they
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they know how to use technology they
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know how to record sounds I've I've done
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you know a number of boxing scenes and
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they will record
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punching uh
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cantaloupes uh you know uh sides of raw
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meat uh and and or or or you know or
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like strange things like um you know a
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foam wall that kind of makes a a sound
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the there are all kinds of subliminal
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ideas that's what's so interesting about
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sound design is so much of it works on a
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subliminal level and uh you know there
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there are there are lots of times where
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there's a completely unnatural sound
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introduced into a scene but it has a
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huge impact um The Silence of the Lambs
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is famous be because it sort of invented
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this idea that every time you that jod
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Foster would go down uh into elor's
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layer into the cell they would just
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start this kind of cranking low grade
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rumbling kind of sound it was it was it
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was subliminal you really could barely
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barely discern it but it just it just
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made you uncomfortable and it just
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created a a sort of a a background uh
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sometimes um you know the animal sounds
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can be used under what a truck driving
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by or who knows what it's wide open and
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it's a it's an area for for Real uh
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invention and of course you can always
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come back to the literal because we live
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with literal sound um you know all all
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the time we all have a you know a good
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solid sense of you know what's normal
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the magic comes in you know what's not
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normal and
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yet does not distract us from you know
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immersing oursel in a scene when I say
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us of course I mean the audience
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so much of what the editorial order of
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shots um um depend upon or the the right
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music cue the right sound effects or the
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removal of those things at Key moments
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to make the scenes really work and of
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course the director has to be aware of
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all this too and ultimately have the
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have the final opinion but there the the
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sound it's it's not just where the sound
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is but it's the level that the sound is
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played at it's the way sound can travel
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in a in a theater from speaker to
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speaker to speaker and what that means
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to an audience um you know it's it can
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be uh thrilling if you feel like you're
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you're sort of seeing you know something
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fly past you and you can also hear it
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move around it can be frightening if
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it's behind you I mean again uh it it's
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always about the the the choices here
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are the tools here are the possibilities
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what do they mean to what to the story
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what do they mean to the reaction to
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that story and how do they influence it
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and uh the answer to that question is
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always going to be the answer to you
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know what should we do next as
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filmmakers it's you want to you want to
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make the choices that are most effective
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on behalf of your story reach the
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audience in the ways that you want to
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reach them you know we we had had a
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silent movie that won an Academy Award
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here a few years ago for best picture
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and deserved it uh so all of these
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choices um the wall of sound a single
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sound um you know uh full
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surround um single speaker in the front
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they're all valid they're all valid
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black and white you know color 3D you
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know they're all valid the question is
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what works best for your story and
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that's you know again always comes back
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to the director uh what should it be how
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shall We Tell this story uh and that's
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why I thrill at the collaboration of
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being able to turn around to people who
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are Specialists love what they do and
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say what do you you know what do you
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[Music]
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suggest dialogue you know is you record
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it on the day with the actors but that's
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doesn't necessarily mean that's the end
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of the story of the dialogue in terms of
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the process of making the the movie or
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the TV show uh you know you you you have
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a chance to go back and work on that you
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can lower the pitch of the actor you can
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heighten the pitch you can slow it down
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a little bit you can speed it up uh you
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you can uh re-record it and um and
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therefore make it louder or make it
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softer or change the performance you can
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go back to the actor and show them a
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scene and say you know we need to soften
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this or this needs to be stronger or I
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don't feel the intensity let's try it
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again and see what we can do verbally
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and so the all these things in
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post-production the editing the music
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certainly um the sound design the mixing
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the sound effects uh the dialogue
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editing the dialogue mixing all these
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things come together in ways that um you
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know they put the finish on the movie
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that it's like it's like a house that's
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wellb built but you know it it needs to
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be sanded varnished and painted uh and
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and post- production is all about
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putting the finish on the on the project
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in a way that uh you know it's it's
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going to be presented its absolute
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