José Luiz Sassois one of the largest, if not the greatest expert of Brazil in restoring sound films.After a pleasant afternoon learning the nJLS Sound Facilitieswith this living legend of the sound of Brazilian cinema, I reproduce here some of the history and practice of this important work of preserving audiovisual specifics.
Eduardo Escorelqueriam trazer à vida de novo o filme “Cavalinho Azul” (Eduardo Escorel, 1984) eo “Sonho Sem Fim” (Lauro Escorel, 1985), ambos eu mixei naÁlamo."The history of restoration in Brazil begins with me whenLauroandEduardo Escorelwanted to bring to life again the movie "Blue Pony" (Eduardo Escorel, 1984) and "Endless Dream" (Lauro Escorel, 1985), I mixed both inPoplar.And they had these tapes ¼ movies stored in Nagra.That was back up the mix of perforated 35mm.They called me, wanting to restore the sound film and I set out to do.But I had not the Nagra, then theGeraldo Ribeirowho transcribed into a wave file (we're talking 24 frames).Then came the pictures for me.I think they were showing on TV Cultura here in São Paulo, but did not want the sound of the telecine copy.In this case, it was actually not a literal restoration, but it was a re-mastering.Since it was on tape ¼, the quality was absolutely normal, even recorded on Nagra.And then we went on a software, took the sizzle, we took some of that characteristic monaural movie to be a little richer in midrange ... it created a little more serious ... So I re-masterizei these two films.And then it got lost there.Was more or less in 2003 or 2004, can not remember exactly.But this time no one spoke still in restoration.
As enthusiast of sound in cinema, since the first survey in my work of course completion in 2009, called The Universe of the Stages of Professional Audio Production Film , had great difficulty in finding relevant literature on the subject and, therefore, had the habit stating that there were few materials in Portuguese about the universe of sound in film.Not satisfied, continue to research the nuances of literature in the field, and after attending conferences and meetings movie, I began to realize the amount of work that existed, or that have emerged over the last few years, or who were also being conducted.Therefore, it is from this difficulty in finding the basic references cited monograph arose stimulus to design a project to organize this material, facilitate contact and decrease the wear of a literature search in English until then were spread .
Cinema em Cena, a professoraAna Lúcia Andrade, da Escola de Belas Artes da UFMG, eo técnico de som, pesquisador e também professor Nélio Costa .Cinema Scene, considered one of the most traditional portals film from Brazil, recently conducted a podcast devoted entirely to the sound in the cinema with the participation ofRenato Silveira, editor ofCinema Scene, ProfessorAna Lucia Andrade, of the School of Fine Arts UFMG, and sound technician, researcher and a professor Nelio Coast.
"As essential as photography, sound is an element that makes the experience of watching a full movie.In this edition, the Cinema Scene Podcast discusses how sound was used throughout the history of cinema, as an experiment and as a dramatic feature in various movies, various multi-channels the lack of a more analytical approach from critical systems, and technical deficiencies of cinemas that impede the public to enjoy for all the work done by sound designers. "
Click the player below to listen:
Paulo de Tarsoe que sempre trás textos interessantes refletindo sobre a arte sonora no cinema.We should also highlight the columnFrame Sound, written by the editor and sound mixerPaul of Tarsusand that always brings interesting texts reflecting on sound art in cinema.
"Prosumer equipment democratized audiovisual production, no doubt.With the fever of DSLRs came an avalanche of pocket recorders, cheap, affordable and user friendly.The maximum of theGlauber- "a camera in hand and an idea in the head" - has never been closer to reality, although the ideas are in short supply these days.In practice, this democratization has revealed another facet:. Precarious and some fall in production quality "
Ray Dolby, founder engineer atDolby Laboratories, died on Wednesday, September 12, 2013, aged 80 years old.Mr.Dolbyis recognized worldwide for pioneering the development of innovative audio technologies, and much improved recording and reproduction of sound, such as noise reduction or "noise reduction" (such systems: Dolby A, Dolby SR, etc.. ), compression of audio signals and patterns surround sound like Dolby Stereo and Dolby Digital (AC-3), much used by the film industry systems.
It is a tribute to this great scientist craftsman who contributed so much to the progress of the sonic universe of cinema.
Guta Roimexplica o ofício da arte de criação e trabalho com o foley , também conhecido como “ruído de sala”.TheUNIESP TVrecently released a story where winning foley artistGuta Roimexplains the art craft of creating and working with Foley, also known as "room noise".Check the contents of the subject in the video below:
5 to September 8 happens in the city of the RJ-Conservatory7th Cinemúsica Festival, only film festival in Brazil dedicated exclusively to the films soundtrack.This year the festival will explore the different components that made up the Rock in B movies, shows, interviews and studies, following the wave of celebrations around the 3 decades between the bursting of the movement of the current revival.
The festival back also a novelty, the first National Professional Sound Brazilian Cinema (ENPSCB), which aims to contribute to greater integration among professionals of sound national cinema.It is an opportunity for the valorisation of the film sound world related activities in the country, becoming also a new space for reflection and discussion of issues concerning the realization of audiovisual market, the teaching and the theater sound research in Brazil.The meeting consists of table discussions, lectures and exhibition equipment that complement the programming of the7th Cinemúsica Festival.
Cinema: A sound art(Ed. Annablume, 2013) is the most recent national book devoted exclusively to the reflection on the cinematic sound.The author is the editor of Sound, professor and researcherVirginia Flôres."The main shaft that guided the writing of this book was to try to understand why the sound being one of the constituent elements of the films, so little valued as technical and aesthetic work tool, as it turns, effectively, the receiving a film. "
The book launch will take place on August 22, 2013 at 19h inblooks Bookstore(Praia de Botafogo, 316, Rio de Janeiro-RJ).
"Owner of a fluent text, Virginia Flôres takes to book your didacticism, causing reflections and concepts presented are always accompanied by filmic examples that enrich and clarify the reading" (presentation of Eduardo Santos Mendes).