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.
2015 Feb 18 2015
Daniel Turini . First part of the interview with the sound professionals Fernando Henna and Daniel Turini . Training, and noise generation: thinking the sound of a movie.
William Farkas: As you approached the sound of the universe in the movies?
Daniel Turini: I did film the USP (Audiovisual Degree, School of Communication and Arts, University of São Paulo) and already within the course was specializing in sound and mount me, when I started working was already doing sound and have worked with sound since. Do other things, I have short films I directed, I script, do other things, but the day-to-day work with sound. It is a more focused approach in the narrative, so my training is drama, dramatic development. So it's not as nonsense working with sound or script or other areas. I'm actually working with the evolution of drama in time. Of course there are several areas in film but I would define a bit like the passage of time the sound is fundamental, or assembly or structure of a script. I think my specialty is working this, understand this structure through sound or other languages and work it. And it's a little further up a bit with the formation of Fernando (Henna).
Fernando Henna: What is the opposite of that! (Laughter). I went into the sound for film by chance. I worked in an advertising studio and one of the workers there had worked in the studio Miriam Biderman and offered a place for her that she ended up not accepting and asked if I wanted, if I knew how to do. I said yes to both. But it was a lie, I did not do, I just wanted. I was there in the middle chutzpah, in the Mirian studio, called al Effects Films and getting there they asked if I knew how to do and I said no but it had a slightly better knowledge of Pro Tools and some technical things right, and they had a demand for it. Just entering this wave, a half-wave input, edit steps ...
2015 Jan 15 2015
ABC . I am associated with the Brazilian Association of Cinematography since 2000. In 2002, we held in Rio de Janeiro the first meeting of sound professionals within the ABC . For us to perform an activity in Sao Paulo in the same year, I invited Carlos Klachquin , who was the Dolby Consultant for Latin America, to give a talk on the history of sound in cinema technology. Soon after he joined ABC and did many things together. In 2010, thinking about who we could invite from outside of Brazil, for a sound debate in Week ABC . O Segredo dos Seus Olhos “, ganhador do Oscar de Melhor Filme Estrangeiro daquele ano. Carlos suggested me José Luis Díaz , and he told us a little about the last job he had held the Sound Direction " The Secret in Their Eyes ", Oscar winner for Best Foreign Film of the year.
8º Festival Cinemúsica em 2014, em Conservatória, RJ. In the following years we continue to match, when he was invited to participate in the Second National Meeting of Brazilian Cinema Sound Professionals , held at 8 Cinemúsica Festival in 2014, in Registry, RJ. There, he and Guido Berenblum , who had been his pupil, held a discussion on the sound in the Argentine cinema. It was a great opportunity for, through sound, could strengthen the ties between our cinematography.
Relatos Selvagens , filme de enorme sucesso de público na Argentina e atualmente em cartaz no Brasil, onde também tem feito sucesso. The work on which José Luis Díaz introduced us was on the sound performance of Wild Reports , huge blockbuster film in Argentina and currently on display in Brazil, where it has also been successful. José Luis has a YouTube channel where generously provides information about sound in the cinema. Câmara Argentina de Provedores e Fabricantes de Equipamentos de Radiodifusão ) no final de outubro de 2014. He recently uploaded 4 videos filmed during a lecture that coordinated during exposure of the CAPER ( Argentina Chamber of Providers and Broadcasting Equipment Manufacturers ) in late October 2014.