Posted at 11.26.2018
Rationale/Research as of yet: The roots of the word sound designer originated from Walter Murchs work on the film Apocalypse Now, where he had the full responsibility of fabricating the films entire soundtrack. (Holman, 2002)
Traditionally "the term sound designer includes the traditional functions of both editing and enhancing and mixing". (Holman, 2002, p. 192). Nowadays acoustics designers jobs can range from creating individual sound effects to the responsibility of creating the entire soundtrack for a film. (Whittington, 2007)
Three of the key players who've all developed and created the job of a audio custom are: Walter Murch, (American Graffiti, The Chat, Apocalypse Now) Gary Rydstrom, (The Terminator, Ghost Busters II, Jurassic Recreation area) and Ben Burtt (Celebrity Wars, E. T. , Wall-E). They may have created a typical for reasonable designers to check out and made iconic noises recognized by many, for example: the traditional light saber hum from Legend Wars, Ben Burrt created by blending the audio of his Television set and a vintage 35mm projector. (filmsound. org, n. b. )
Paul Ottosson has been recognized for his sound design and supervising sound editing successes with Oscar and BAFTA nominations. (Koppl, 2010) His oeuvre features movies such as: Spider-Man 2 and 3, S. W. A. T. , 2012 and The Hurt Locker. Being successful two Oscars in 2010 2010 for 'Best Accomplishment in Audio' and 'Best Achievement in Sound Editing' (imbd. com, n. b. ) for the second option.
His roles on the 'The Hurt Locker' were Sound Designer, Sound Re-recording Mixer and Supervising Sound Editor. Ottosson's objective, set by director Kathryn Bigelow, was to "re-create the gritty acoustics of the Iraq warfare as authentically as possible". (Caranicas, 2010) "From the first reaching the director spoken about how exactly important sound was going to be because her original motive was to have no music in any way in the movie. " (Ottoson, 2010)
Ottosson was given a massive challenge and full responsibilities, after the picture was cut it was his job to generate an mental arc and also to build stress throughout the film using sound design where traditionally music would be used. As David Sonnenschein explains "The most frequent nonliteral sound to accentuate character personality or feeling is music, while more and more use has been made of sound files and ambience to support this area. " (Sonnenschein, 2001, p. 178)
His treatment of the overall soundtrack of the film blurs the boundaries between music and audio design (Koppl, 2010. ) when created effectively it is difficult to judge whether it is music or audio design and Paul Ottosson uses some strange techniques to achieve the desired effect.
This research will discuss and analyse the abnormal and advanced sound design techniques that Paul Ottosson deploys. It'll critically examine how these techniques; heighten feeling, anxiety and realism by carrying the audience in to the centre of the chaos in the Iraq war. Through exploring Paul Ottosson's sound design in 'The Hurt Locker' should affirm the importance of the role audio design can play. Knowledge gained by commencing this analysis should profit future audio design assignments.
To examination of the use of 'point of audition' audio; to immerse the audience into each of the key characters' emotions.
To compare and contrast the individual audio design treatment for the three folks in the EOD (Explosive Ordinance Disposal Team) product, how it differs between them, enabling character recognition and the consequences they have got on the audience.
To investigate the use of 'Off-Screen' sound to make a sonic-point-of-view to give the audience the perspective of being at warfare in Baghdad.
To explore how Paul Ottosson creates a sound arc using 'foley', sound files, backgrounds and individual breathing to create tension in moments where typically music would be used.
To compare of the sound design from the first bomb-deactivation landscape and the next bomb-deactivation scene where SS Adam has taken control of the EOD device.
To provide a detailed contrast of the sound design used in the opening scenes of 'The Harm Locker and 'Saving Private Ryan'.
It is interesting to notice that two videos, 'The Damage Locker' and 'Cutting down Private Ryan' are both videos that strive for realism and use point-of-audition sound in a subjective sense to put the audience in the characters shoes.
During the first bomb de-activation arena in 'The Hurt Locker', Staff Sergeant Thompson places on the anti-bomb suit and starts off walking towards an IED. The audience can listen to the sound of him respiration. This establishes an initial connection with the character as it is his breathing the audience can listen to looked after creates a second emotional website link with the audience. The audience have the ability to connect with this audio and empathise as heavy deep breathing is a sense or situation most humans have noticed at some point in their lives possibly following a tense or stunning experience. The feeling is heightened as the audio custom made makes a mindful decision to alter the breathing structure as the type gets nearer to the risk. This impact could be in comparison to a rise in pitch and amplitude of your stringed tool heightening stress in a scene musically.
In contrast, during the Omaha beach scene in 'Keeping Private Ryan' Gary Rydstrom manipulated the sound of the sea to simulate the traumatic shell-shocked state figure Tom Hanks seems. Rydstrom explains how "taking the sound from the battle became a fascinating device to get inside someone's mind" (Rydstrom, 2007)
In both good examples point-of-audition sounds are used to immerse the audience in to the character's inner feelings. The difference is just how sound in 'Keeping Private Ryan' calls for the audience into the character's head; in order to talk about and experience his sense and this effect momentarily cleans away the audience from the on-going situation around him. Whereas, in 'The Damage Locker' whilst the audience are similarly immersed inside the character's mind, also, they are fully alert to the environment and action going on around the type, because of the background sound carrying on so that it can still be heard.
If the sound design techniques were swapped in the movies, it is likely that neither of them would achieve the sound designer's desired result. For example, it is essential for the backdrop sounds to remain in 'The Harm Locker' as these are being used to create the strain required for the field.
Both of the examples illustrate the execution of point of audition audio tailored to both individual film and then for specific moments within them. The analysis will further explore such techniques and will similarly demonstrate the finds by use of specific samples.