Moving forward with the last part of the interview with Márcio Hall about his experience performing the capture direct sound from the film " Cinema, Aspirin and Vultures "(Marcelo Gomes, 2005), follows the third and last part.
PART III) Current overview of the figure of the sound in professional audiovisual markets.
William Farkas:What is your relationship with the post-production?
(durante o festival do Rio de 2013) e ele sempre fala a mesma coisa, quanto mais você enquanto técnico de som conseguir ir na edição de som, mixagem melhor.Márcio House: I'm sorry ... Another day I was on the lecture ofChris Newman(during the Festival do Rio 2013) and he always says the same thing, the more you while soundman get going in sound editing better mixing.But we can never ... And I say again, I have been asking this question for many technicians direct sound here from Rio de Janeiro and they all complain about the same thing.That has no feedback or have it only when there's something wrong when you think that the sound is bad.The most that happens is the producer, I've talked withSara Silveirashe finds great sound.But it does not have an interaction.This post seems to personnel who live within an autistic world.And I say again, it seems that creativity ... Another thing that I said about the magazineFilm Culture n.58(The Sound of Our Every Movie).The only time the technician is direct sound is quoted byAlessandro Larocasaying that the sound technician thinks he hears in the theater is the pure direct sound.The only time that the sound engineer is quoted!He is saying that the soundman think that goes to the movie theater is the sound without the whole process of editing and post production sound.I do not know that this is more generic stereotype to think that there is this picture of a sound technician with such ingenuity. Continue reading
PART II) Experience in attracting direct sound in the movie Cinema, Aspirin and Vultures(MarceloGomes, 2005).
William Farkas:Now coming specifically in Cinema, Aspirin and Vultures (Marcelo Gomes, 2005).You've commented a bit like Marcelo Gomes met, but I wonder how was it enters the film and how was your contact with Marcelo.
Márcio Camera: Marcelo had already done a few short films and done other things too.I think I made some institutional him here in Rio de Janeiro at the time.But I remember his proposed movie.I remember he was raising money to shoot the film.I remember him always telling me the difuculdade filming, which is inherent in a road movie and the fact that he almost always inside a truck and how to make it work technically, both image and sound for the process difficult.Beto Normal) que ele tinha gostado muito.I had the experience to make it sound the short film, theClandestine Happiness(1998, co-directed withNormal Bob) he'd have liked.It's a film that does not have much development but in terms of dialogue was very cumbersome because it was all filmed in Recife, in urban area, a difficulty number that we can reconcile.But from there I developed a good relationship with him, he liked not only the sound but also the relationship.I think also, I say again, that I had a certain lack of one sound in the Northeast and perhaps because I am the northeastern us it was understood at that level.I remember at the time the movie had a big physical challenge for me.I did a pre-movie Marcelo calledOutbackContinue reading
In June 2013, I started as a student of the BA in Cinema and Audiovisual,Universidade Federal Fluminense, a survey of undergraduate research supervised by ProfessorFernando Morais da Costa.Had to study the sounds in some films in contemporary Brazilian cinema and bring the experiences of the realization of the sound with a more academic thinking.Ie, make the sound sound professionals in the Brazilian film making and his productions have also linked to a more theoretical thinking.Soon, Fernando and I together, we chose four Brazilian films made in the period between 2005 and 2013. I conducted interviews with five professional sound linked to elected movies.From reading literature on sound in film and interviews, I wrote an article trying to relate the experiences that have passed such professional and a more theoretical reading of sound in cinema.
On the occasion of the publication in theArtisans of Sound, the interview was divided into three blocks: I. History and the beginning sound, II- Experience in attracting direct sound in the movie Cinema, Aspirin and Vultures (Marcelo Gomes, 2005) and Panorama III- the current figure of sound in professional audiovisual markets.
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