Audio Black Hole!

In one of the previous articles, we talked about how different shot sizes and framings bring different level of intimacy and tension. Well, another interesting way of looking at this is in terms of contrast and dynamics.

Master shot juxtaposed with medium shot or close-up creates contrast. Contrast creates drama and drama is interesting to watch.

Now, contrast is not only interesting to watch, but is key to storytelling. Look for example at the painting by Rembrandt below, where dark blacks are contrasted with bright light:

Rembrandt: The Anatomy Lesson of Dr. Nicolaes Tulp
Rembrandt: The Anatomy Lesson of Dr. Nicolaes Tulp

We naturally tend to look at the brightest spot. In this case, the brightest spot happens to be the dead man on the table. And this is exactly where Rembrandt wants us to look at; this is what the painting is all about – an anatomy lesson.

Now, there is an infinite number of ways how and where to create contrast. But in this article, we’ll take a look at one specific example in sound design.

Audio Black Hole!

Audio black hole is one of the more subtle, but highly effective sound effects. It involves insertion of a short interval of absolute silence in the audio track just prior to the explosion, gunshot, hit, blast or any other kind of impact. (1)

Needless to say, the most potent sound is the single perfect sound played against silence. (2) This creates not only beautiful contrast and dynamics, but also helps to enhance and accentuate the resulting impact in the mind of the listener.

I prepared a short video to show this sound effect, but before you’ll watch the video, read what sound designers Ben Burtt and Erik Aadahl said in their interview for designingsound.org about this sound effect.

Ben Burtt (Star Wars: Attack of the Clones)

I think back to where that idea might have come to me…I remember in film school a talk I had with an old retired sound editor who said they used to leave a few frames of silence in the track just before a big explosion. In those days they would ‘paint’ out the optical sound with ink. Then I thought of the airlock entry sequence in 2001. I guess the seeds were there for me to nourish when it came to the seismic charges. (1)

Erik Aadahl (Transformers: Revenge of the Fallen)

One of my favorite scenes is the “hut scene”. Sam and Mikaela are hiding out from Decepticons on the hunt. It’s the silence that I like. We tried to get very quiet, so we could hear the terrified kids trying to suppress their breaths and not be heard. We wanted the audience to hold their breaths too. We go as quiet as we can, before Starscream rips the roof off of with a BANG! Dynamics are the key to both storytelling and sound.

It’s fun to make audiences lean in, have them strain to hear something, and then give them a jolt. I like this kind of filmic emotional manipulation, and I think anyone who enjoys a ride on a roller coaster does too. (3)

How about you, do you enjoy the ride on roller coaster?

References

  1. designingsound.org/2009/09/septembers-featured-ben-burtt
  2. designingsound.org/2010/03/erik-aadahl-special-exclusive-interview
  3. designingsound.org/2010/03/erik-aadahl-special-the-sound-design-of-transformers-exclusive-interview

Links


As always, if you liked this article, please, leave a comment, share it with your friends on Facebook or tweet it to your followers, or everything! 🙂

Sound cues in Inception

Inception (2010)
Inception (2010)

I think that Inception by Christopher Nolan needs no introduction. However, what may need a brief introduction are few sound design/musical terms that will be used throughout this article. So, here we go, starting with my most favorite – pitch shifting!

Pitch Shifting

Pitch shifting is about changing the pitch of a sound. With pitch shifting we basically detune the sound up or down in semitones (=musical half-steps) or even cents (extremely small finite intervals) (1).

To give a real-world example, try to imagine a fast lift in some skyscraper: When it slows down or accelerates, you’ll hear a change in the pitch of the sound.

Or if you play a musical instrument, particularly keyboard, there might be a pitch wheel located to your left that changes (raises or lowers) the pitch of a note being played.

By the way, there is a great talk by my favorite sound designer Randy Thom, who talks about pitch shifting in SoundWorks Collection sound show: How to Train Your Dragon. If you’re interested in sound design and haven’t seen it yet, I highly recommend it! (Or if you are interested in pitch shifting only, he starts to talk about pitch change at 00:24:00 and gives away one of his secrets btw.)

Reverb

Reverb is actually pretty tricky to describe/explain. Therefore I think it is best to use an example. Imagine yourself singing in a bathroom and than in a church.

First, you’ll hear your voice, but then it will be followed by sound waves reflected from the surrounding surfaces (=reverb). The type of reverb you’ll hear depends on the type of surface (ceramics tile vs. stone) and space (bathroom vs. church).

In any case, each place or space has a specific reverb that helps you orient where you are.

Tempo

Tempo is a musical term that dictates the pace/speed of any musical composition (2). In other words, it dictates how fast or slow should we play the musical composition. The tempo is usually given by BPM (beats per minute) or using words (Largo, Adagio, Allegro, etc.).

Sound Bridge

Sound bridge can lead us in or out of a scene (3). It connects seamlessly two scenes together by overlapping the sound from one scene to another. Either by overlapping the sound from previous scene to the following scene or by playing the sound from following scene into the previous scene. It is the same as J or L cut technique in editing.

Anyway, the best sound bridge is when the sound not only overlaps, but transforms to something else. That’s pure cinema!

SOUND CUES

Inception is pretty complex and complicated movie when you watch it for the first time. When I was leaving the theater I had only a rough idea what was and what wasn’t a dream. But at the same time, I knew that this wasn’t a simple mind fu*k and immediately wanted to see the movie again.

The characters travel into various levels of a dream (=dream within a dream within a dream), so especially the first time, it was quite difficult to keep the track where we are. However, sound works as a guide for us, the audience, to help us orient whether we are in a dream and whether we are transitioning from level to level. Here is how the sound cues work:

Pitch Shifting

Change in Pitch

When we transition into another level of a dream, pitch shifting occurs (4). Not all the time, because that would be totally annoying. But in some scenes, when the characters fall asleep and start dreaming (or travel into another level of a dream), there is a change in pitch of surrounding sounds.

When we transition into deeper level, the pitch goes down (and vice versa, when we transition into upper level, the pitch goes up as well.)

Change in Speed

In the case of Inception, pitch shifting changes also the speed of the surrounding sounds (4). When we transition into deeper level of a dream, the surrounding sounds slow down (and vice versa, when we transition into upper level of a dream, surrounding sounds speed up). This directly correlates with the time-flow in various levels of the dream. The deeper the level of a dream the slower the time-flow (and vice versa).

Sound Bridge

Lastly, pitch shifting may work as a sound bridge at the same time in some scenes. For instance, interior jet roar becomes traffic when we transition to the first dream level (4). Or tire screeching becomes metal screeching when we transition to the second dream level. Very, very cinematic use of sound!

Music

Hans Zimmer used throughout the movie leitmotif from Edith Piaf’s “Non, Je Ne Regrette Rien” (5). The music slows down based on the dream level we are currently in. The deeper we are, the slower the music plays back (and vice versa). Again, this directly correlates with the time-flow in various levels of the dream. The deeper the level of a dream the slower the tempo of music.

To illustrate this, watch the video below that went completely viral.

Reverb

Dreams feel usually very real. But there is always something that is just not quite right. It could be weird behavior of people you know or messed up physics, like different time-flow or unnatural reverb.

So in some scenes, you’ll hear a very unnatural reverb. Especially when a piece of glass shatters or breaks. This tells us, that we are in a dream.

Sound Cues – Audio Examples

If you skim through the articles I wrote so far, you’ll notice that the vast majority are examples of visual storytelling. The reason for that is that examples of visual storytelling are easier to describe and explain. You can simply see it. However with sound, it is much more difficult. Even the most skilled writer is not able to fully describe the visceral feeling and sensations that sound has to offer.

I used to spend a lot of time at filmsound.org and now I’m spending significant amount of my free time at designingsound.org. I’m deeply in love with film sound design, because it is one of the most powerful storytelling weapons that filmmakers have in their arsenal. Heck, the very first article written for CINEMA SHOCK is in sound design category.

Anyway, the reason that there are so few articles about film sound design is that I was afraid (and still I am) of uploading copyrighted material to YouTube.

Fortunately, there are few exceptions. One of them is the principle of Fair Use. I sincerely believe that the following video I made for this article is in accordance with this principle. Enjoy!

P.S. During my research and preparation for this article, I “watched” the movie with my eyes closed. Try it someday as well with your favorite movie; you’ll be surprised what you’ll hear! I know that this might sound like a totally weird idea, but hey, welcome to the club! 🙂

Resources

  1. en.wikipedia.org/wiki/Cent_(music)
  2. en.wikipedia.org/wiki/Tempo
  3. classes.yale.edu/film-analysis/htmfiles/sound.htm
  4. designingsound.org/2010/08/inception-exclusive-interview-with-richard-king
  5. www.washingtonpost.com/wp-dyn/content/article/2010/10/21/AR2010102107408.html?sid=ST2010102203520

Inception and Sound Design

SoundWorks Collection: The Sound of Inception from Michael Coleman on Vimeo.

Movies that question state of dream/illusion/reality