2015 Apr 23 2015
Cinemateca Brasileira em São Paulo e é aberto ao público com entrada franca. From 13 to 15 May the Brazilian Association of Cinematography shows the Week ABC in 2015 . With a packed schedule of conferences, panels and discussions with personalities from different areas of Brazil and foreign cinema, the event takes place in the Brazilian Cinema in Sao Paulo and is open to the public with free admission.
This year, the week has two tables dedicated to cinema sound. Are they:
Day 14/05, Thursday:
10h - The sound in the TV Series
"Addressing different sound aspects in the TV series. - Capture the direct sound to the post-production and finishing process"
José Luiz Sasso (Mixer)
Luiz Adelmo Manzano (Sound Supervisor)
Rodrigo Meirelles (Executive Supervisor Audio)
Armando Torres Jr. (Mixer)
May 15, Friday
17h - Introduction to Sound on Audiovisual (TV Series, Long, Short and Documentary)
"Reading the script, listen to the director, which we can express through sound. All sounds are already in Direct Sound? Its use and problematic. The importance of voice. "
Tide Borges (Sound Technician)
Carlos Abbate (Sound Director)
2015 Apr 8 2015
On 27, 28 and 29 April, the city of São Paulo-SP discusses the second time combating noise in their urban environment. ProAcústica ), acontece por ocasião do “Dia Internacional da Conscientização sobre o Ruído”, o International Noise Awareness Day (INAD), cuja data oficial neste ano é 30 de abril. The II Municipal Conference on Noise, Vibration and Disturbance Sonora , sponsored by the Municipality of São Paulo and the Brazilian Association for Quality Acoustics ( ProAcústica ), takes place on the occasion of "International Awareness Day Noise", the International Noise Awareness Day (INAD), whose official date this year is April 30.
The purpose of the event is to sensitize public authorities and society in general about the negative impacts of noise and sound vibrations on human health, thus creating effective guidelines for legislative and administrative action.
The event is open to the public and free, but space is limited and requires the completion of a "registration form".
Check the schedule and more information at: II Municipal Conference on Noise, Vibration and Disturbance Sonora
2015 Mar 17 2015
A Cidade é Uma Só ” (Adirley Queirós, 2011). Interview with Guile Martins , responsible for the sound design of " The City is One "(Adirley Queiroz, 2011).
William Farkas: How did you get in "The city is one"? Do you have a previous relationship with the Adirley?
Guile Martins met Adirley in 2006, during a film festival in Florianopolis. Sobre a Maré ”. Our short were being displayed, he with " RAP - The corner of Ceilândia "and I with" About the Tide ". We talked a lot, but I think more about football than cinema. We met again in 2009 at the Festival of Brasilia, I was there presenting the documentary " Tarabatara "in which I direct sound and sound editing. At that time I went to the Ceilândia take waterfall bath in beautiful waters of Goiás, something that made me very happy, aired a little anguish of being in Brasilia, the master plan, an unknown and inhospitable place for me. In Ceilândia heard the sound of cars, sellers of the fair, people walking on the streets, soccer games on every corner, finally, a human landscape and sound very different from the master plan and the film festival circuit. That was when I attended the " Day of Strike "in the house of Adirley and talked more about sound, how to make the sounds of Ceilândia and other broken, without resorting to the use of" shooting sound and sirens in the distance, "that both the bothered as an aesthetic proposal. We talk about the sounds that fade over time, the knife sharpener, one biju vendor ...
2015 Mar 6 2015
Daniel Turini . Third and final part of the interview with the sound professionals Fernando Henna and Daniel Turini . The sounds of " The City is One "(Adirley Queiroz, 2011).
”, acho que já é um caso completamente diferente. William Farkas: About "The City is only " I think it is a completely different case. Some try to recover in post-production, some things, ensure intelligibility of some plans and make a mix that hold the film. , em que você tem uma condição de escuta bastante amplificada em que todos os eventos soam, produzem sonoridades que num modo de produção documental, muito dificilmente seriam gravados. At times, the film flirts with an aesthetic of a hyper-realistic sound , in which you have a hearing condition quite amplified in all events sound, produce sounds that a document production so much would hardly be recorded . I wonder then if that sound hyperrealism aesthetics was a hint of Adirley .
Fernando Henna: Who can answer you more properly is the same Guile Martins . Than came here, this car key thing for example had in image editing, must have been an agreement between them. What is enough is a smart super sound editing. Very few sounds the database, all sounds captured during the film, even on location. I think when Guile made the sound ...
2015 Feb 23 2015
Daniel Turini . Second part of the interview with the sound professionals Fernando Henna and Daniel Turini . The construction of the sound " Avanti Popolo "(Michael Wahrmann, 2012).
William Farkas: About "Avanti Popolo" as you entered the movie? As Michael Warhmann approached you? He had sound proposals in pre-production?
Daniel Turini: Actually Misha made the film as a short film already with the thought that it might give more material, has some longer plans. I knew Misha before, festivals, mutual friends, but we had no contact with the film to start the work on it. All this I spoke of pre-production, even think like the sound technician will act, had not. What happened was that the sound technician was the finisher sound short film, he who edited the sound of walking.