ABC.I am associated with theBrazilian Association of Cinematographysince 2000. In 2002, we held in Rio de Janeiro the first meeting of sound professionals within theABC.For us to perform an activity in Sao Paulo in the same year, I invitedCarlos 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 inWeek ABC.O Segredo dos Seus Olhos“, ganhador do Oscar de Melhor Filme Estrangeiro daquele ano.Carlos suggested meJosé 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.
The dialog editor of "Salvaje Reports" wasNahuel Palenque.The editing tasks were so laborious that another editor, Matías Vilaro, was responsible only for adjustment of voiceovers, not to further burden Nahuel.During the conversation not quoted Nahuel Palenque.But here I give you credit.
José Luis Díaz, at the beginning of the conversation, shows an excerpt from the film "Vino for Robar".José Luis draws attention to the phrase "is not my fault," where you can hear background noise (the traveling car wheels). Continue reading
Gustavo Santaolallabriefly tells his relationship with "Wild Reports" in a video sent to the conference.He also talks about basic editing music.
José Luis Díazsays that music is an important element in a movie.The charge of music "Wild Reports" Gustavo Santaolalla was, who lives in Los Angeles.So he was not present at the conference and sent a video talking about the work process in the film.His first contact with the film was when I was on vacation with his family in Mendoza - Argentina, when the producer was able to contact him.Months later, back in Argentina, Gustavo notes the stories of "Wild Reports" from the referral from a friend.After reading the book with tales of "Wild Reports", Gustavo asks his friend submit toDamian Szifrónbecause I wanted to be in the movie.Finally, in Belgium, the two met in person.At the time happened the festival of Ghent, music and theater festival, where Gustavo Santaolalla participated as a juror.
José Luis Díaz, sound designer of the film, says the editorPablo Barbiereworked hard.When he finished, the director followed by editing and changing the order of the stories within the film.And this work last long.When the director finished editing the material was for post-production sound and Gonzalo Matijas started making the design of environments and effects of the film (whileNahuel Palenquewas editing dialogs).
Gonzalo says that one of the biggest challenges of the film was dealing with 6 different stories, each with its moments of narrative and independent outcome tension.In a normal movie, there are some key moments where the design of environments and effects are most required.In "Reports Salvaje" had 6 stories.Each with their narratives complications requiring more sound design work.The work of the direct sound to make sounds of toppings on location (wild track) greatly facilitated the work in post-production.
The film "Wild Stories"consists of 6 different stories whose motto violence.The theme of this first part was the direct sound capture.Who talks about this subject isJavier Farina, direct sound director.
Javier said that the fact that the film is made up of 6 different stories brought an aggravating when the direct sound pickup.In a usual film, where there is only one central story with the same characters from start to finish, the technician direct sound ends well know every actor and it helps when planning the sound pickup.In the case of Wild Reports, the team had about two weeks to film each story, the difficulty was to try to meet a huge amount of characters in a short time.This made the work during the filming was very dynamic.As if it was shooting a film 6 of a long-time space.
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