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Fairy tales of the Viennese wood
FILM SSEOM-DE-I There are other microphones, which selectively to narrow or restrict the flow of sound information.All of them are documented in the set, in the on-location, in kinopavilonov and television studios.But even when the quality to make a direct entry, but there is a need to combine it with another sound track, for example, with music by the second method takes a single sound track in the image, similar to the model of our usual sound images.In the classic version are the second method consists in the fact that all tracks or all of the sounds are recorded separately on individual films or track. Replica separate background noise and synchronized in a wide variety, the music and the sound of different instruments, even the voice of the hero and the voice of a journalist for recording interviews sometimes written separately.First, it gives considerable flexibility in dealing with phonograms, secondly - the artistic ability of the organization or the construction works in the sound track of the total imaging. It would be fair to call the sound of only one of the means of expression screen.Sound - not a private part-screen work, it is essentially a big component of it. This is a whole range of means of expression involved in zvukozritelnom installation. For unknown reasons, in the movies and on television differently! referred to the same profession, the same specialist! In the movie, he - soundman, on television - sound.But regardless of the name in the table of ranks skills in audio any director, sound recordist, or as anything else reveals its culture, or lacks subtlety of taste, wealth or poverty of his world of sound images, the ability to feel and to create rhythm in their various manifestations, reveals the true or blown artflair. Working with sound to create screen works - one of the most difficult aspects of artistic creation. Sound engineer and sound designer-director collaborators in his creative quest. Their role can not be download the film Sseom-de-i and limited only to the technical quality of the recording soundtracks, as it is, unfortunately, often the case in reality.If the result of joint creative director and cameraman for image creation we call a sequence of images of plastic, the fruit of a collaborative effort between the director and the sound without any reservations to be called a sequence of sound and images zvukozritelnyh.Most brilliant sound engineer in Russia and educator, author of several interesting works of cinema James E. Charon began a series of lectures for the students with a simple example. He offered to write like a knife cut the bread, and then determine what is the most similar.Guess that for those sounds that go with the film, is the process of cutting the wheat loaf was impossible. The sounds were more like the sound of the saw. Charon developed approval Clerc, that "direct play does not really create the impression of reality."More than that, the sound is not always real, shot on film, the object may be inserted into the final soundtrack work, except, of course, the case of a purely documentary approach to recording.