This may be a little bit of a technical blog but fingers crossed it will highlight some things you already knew, but didn’t know you knew about how things work in the audio industry.
Sound is a wonderful thing and our ears allow us to hear such aural delights as birdsong, a child's laughter, Iggy Azaleas new single or the noises our MD Ben makes in the 2 days preceding a half hour gym session (maybe not the last two).
But what you might not be so aware of is that in relative contrast to your eyes your ears can be deceived relatively easily. Currently here at MWS we are mixing and designing the sound for our upcoming feature film collaboration with Primley Road Productions 'The Catch' (Plug, plug). Now although 'The Catch' is a relatively straight forwards film in terms of sound design (we have no huge car chases to foley or new alien dialects to create), it comes with it’s fair share of challenges. But let me first draw your attention to some more obvious examples that you can relate to.
What would an actual star war sound like? Would they sound anything like master sound designer Ben Burts epic soundscapes of explosions, laser cannons and screaming ion engines? No they wouldn’t because space is a vacuum and no sound travels in a vacuum. Therefore what we would hear would in fact be silence, Burt and co cheated our ears into thinking that there was (awesome) sounds when in fact there would be none.
Ok maybe that's a bit harsh on our ears as few of us have first hand experience of space audio. How about…
Ever scene a car pull away in a movie and heard the tyres screeching on tarmac? Loads I bet. Ever heard the same thing in real life. Perhaps, but lets face it when a young buck pulls away from traffic lights on the A4 having whipped the clutch out like their movie heroes, the wheels make a stuttering gripping noise as they struggle to find tarmac. Rarely the uniform constant rotation on a smooth surface which would cause such a screech. Do we care? No because it sounds great and adds gravitas and power to the moment. Let’s stick with vehicles...
During the famous canal chase scene in James Cameron's masterpiece Terminator 2: Judgement Day, Arnold’s bike changes up a gear 14 times (sources vary). Fast and Furious movies see our drivers shift through around 200 gears with a simple stick shifter. It certainly helps to build tension though.
Ever punched/been punched/seen someone being punched? (Don’t answer out loud) I myself being a rugby player have no idea what one of those is but I have it on good authority that is sounds absolutely nothing like it does in the action films. If it did such films would be very short as one of those impacts would be paramount to a blow with a sledge hammer.
Again, no idea what these are except from seeing them in films, but have you ever wondered how people can talk to each other at such a graceful level whereas inside the real thing you’ll be lucky not to blow your voice out ordering a drink (orange juice)?
I could go on and I’m sure you have plenty of examples yourself and will annoy your family next time you sit down to watch TV (mine don’t let me anymore). So why do we so readily deceive our poor ears? Two main reasons. For dramatic effect and to help the narrative. We touched on examples of dramatic effect above with screeching tyres, epic battles and crunching blows. Try to imagine those horrible scenes in horror movies. Bone crunches, flesh ripping, blood and guts, all of those distressing noises are amplified in volume considerably higher than is realistic in order to pull you in to the happenings and further immerse you into the terror.
As for the narrative part take the 'Nightclub'. If we can’t hear what our characters are saying to each other then we are going to struggle to follow the story. Think of all the times you’ve watched a scene with someone far from the camera with perhaps a busy road in between them and you. Hows the dialogue? Clear as a bell? Of course it is as audio designers and engineers we sometimes have to compromise realism for clarity and story telling and thankfully most of the time our ears let us do that.
So maybe it's harsh to say that our ears are idiots. In fact the ease at which they can be deceived leads to a much wider breadth of creativity and greater margin of error for some technical aspects. Most of your summer blockbusters will be overdubbed using ADR a technique whereby the original dialogue is replaced with studio recorded sound and synced to the footage. Look closely and you can sometimes pick out minor mis syncs on even the grandest of productions (again, I recommend doing this on your own away from friends and family). But it leads to lovely clear crisp dialogue and often the ability for a director to recapture elements of a performance after the shoot.
Ears, you may be a little stupid. But we love you.