Sentences with phrase «of cinema sound»

In part two of our conversation, fellow sound designers Randy Thom and Chris Foster pose questions to Walter, we discuss the state of cinema sound before and after Apocalypse Now, why film school can be a good idea, and how you can underline a character's emotional state with carefully chosen sound effects.

The nature of cinema sound often goes unappreciated, mainly because it's almost never explained.

Transcendence director Wally Pfister discusses the importance of cinema sound and how Dolby Atmos helped him achieve his vision for the film.

Not exact matches

The sound will be digitally coded using a system developed by Dolby Laboratories of San Francisco for the cinema industry.

Haven't read whole thread but hoping no one is making the argument that this is like shifting to color or sound, both of those posed clear impediments to a kind of versimilutude cinema, but for ninety odd years we have accepted the sufficiency of the format without question.

Though boasting the creativity of a television episode, the short is presented in full Dolby 5.1 sound (with all the language options of the feature film, minus DVS) and cinema - ready 16:9 animation.

The Artist plays around with the distinction between silent and sound cinema, resulting in the superficial entertainment value of a high concept film school joke.

Rather than being ideal for people who know a bit about French cinema and want to know more, it's best suited to people who know a considerable amount about French cinema (and culture) of the early sound era and want to delve deeper.

A Quiet Place John Krasinski's thrillingly intelligent post-apocalyptic horror movie, in which he stars with Emily Blunt as a couple trying to protect their family from monsters who hunt by sound, is walking - on - eggshells cinema of a very high order.

A kind of low - level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He's outfitted it with garish colors and costumes and set designs, some not - entirely - perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean - Claude Van Damme flick.

Apparently it's already been and gone from British cinemas, but I don't remember noticing it was there; a pity, because it sounds quite engaging, the kind of lighthearted caper film which used to come from these shores on a frequent basis in days gone by.

He is perhaps best known for delivering some of cinema's most enduring and iconic moments in The Day the Earth Stood Still (1951), West Side Story (1961), and The Sound of Music (1965).

When Joel McCrea says «I believe good dialogue is the cheapest insurance a producer can buy,» it sounds like something Sturges taught all of cinema.

The film's staging and editing is comparable to something on the Charlie Kaufman / Spike Jonze / Michel Gondry side of cinema, with multiple locations and characters converging on a single space as Ingrid keeps interpreting and reinterpreting sounds — nearly always imagining that she's overhearing the secret sex lives of her husband and neighbors.

For Annihilation is ultimately a cerebral work whose visual beauty, strangeness, heady sound design and sophisticated ideas prove Garland once more to be one of genre cinema's finest living practitioners.

To say Unknown is perfectly adequate cinema - fare sounds like a negative appraisal of the Liam Neeson (Taken, Schindler's List) vehicle, but it isn't meant to.

There are images destined to be as indelible as the two suns of Tatooine — one comes with a silence so stark it sears into the mind, proof of how sound, and the lack of it, impacts cinema — and there are heroes and villains that will fuel the imagination of fans for years to come.

Eventually I enrolled in a sound and image course where I had the opportunity to experience filmmaking with a great teacher — award winning video artist Joan Braderman — and a whole new world opened up for me — not the world of cinema fantasy but the world of documentary.

The early 1970s to the late 1980s was a unique moment in Australian cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and sounds unlike anything they had seen in Australia before.

(the sound of a punch landing in 60's Bollywood films) of Indian cinema and its superlative culinary delights.

Every ten years since 1952, the world - renowned film magazine Sight & Sound has polled a wide international selection of film critics and directors on what they consider to be the ten greatest works of cinema ever made, and then compiled the re...

When working for Owe Svensson from 1997 - 2001 (sound designer for Ingmar Bergman, Bo Widerberg and Andrei Tarkovski), Ekstrand got his passion for the art of sound and music in cinema.

Every ten years since 1952, the world - renowned film magazine Sight & Sound has polled a wide international selection of film critics and directors on what they consider to be the ten greatest works of cinema ever made, and then compiled...

While that no doubt sounds melodramatic, there is no paucity of writers (talented or otherwise) willing to ramble on about the successes or failings of cinema.

The cinemas are alive with The Sound of Music once more as the classic musical returns to the big screen.

Known as an inventive poet of early sound cinema in France, thanks to such sharp, creative films as Under the Roofs of Paris (1930), Le million (1931), and À nous la liberté (1931), Clair had a reputation that preceded him to Hollywood, and I Married a Witch overflows with the same comic irreverence and fleet storytelling as his earlier films.

The film, which opens in cinemas on April 5th, stars Krasinski alongside Emily Blunt and follows a family of four who must live life in silence while hiding from creatures that hunt by sound.

A lot of my film friends have said that sound is the single most important thing in cinema; I'm inclined to agree with that.

In 1931, with a handful of silent shorts and features under his belt, director Jean Renoir made a tentative transition to sound cinema with «On Purge Bébé,» a broad comedy about an upper - class household put on edge by a constipated child.

2011, the year of actress Brit Marling, also introduced the world of cinema to two promising filmmakers: «The Sound Of My Voice» director Zal Batmanglij and «Another Earth» filmmaker Mike Cahilof actress Brit Marling, also introduced the world of cinema to two promising filmmakers: «The Sound Of My Voice» director Zal Batmanglij and «Another Earth» filmmaker Mike Cahilof cinema to two promising filmmakers: «The Sound Of My Voice» director Zal Batmanglij and «Another Earth» filmmaker Mike CahilOf My Voice» director Zal Batmanglij and «Another Earth» filmmaker Mike Cahill.

Although she's not, by her own admission, cinema - savvy, she manages to provide a great deal of insight into producer Terrence Malick's involvement (certainly more than Moland ever summons) and touches on challenges we may not have considered, such as the difficulty of writing broken English that doesn't sound condescending.

by Bill Chambers Two Family House and Panic, a pair of overlooked films hopefully not destined to become overlooked DVDs, have more in common than a passing glance suggests, and their joint failure to earn even a pittance sounds the death knell for independent cinema as we knew it in the early -»90s.

Close - up and Blow Out make a great double feature, mainly because their titles sound so cool together but also because you can't find two better examples of wickedly smart and politically alive «self - referential» cinema that couldn't be less doctrinaire.

The film is full of both marked and unmarked point of view shots, allowing us to both get a sense of the subjective view of certain characters as well as allowing us to view the scene through a camera freed from some of the imposed restraints of restricted movement that are characteristic of early sound filmmaking and classical Hollywood cinema generally.

Every ten years since 1952, the world - renowned film magazine Sight & Sound has polled a wide international selection of film critics and directors on what they consider to be the ten greatest works of cinema ever made, and then compiled the resul...

There were those like writer / director James Cameron who were convinced that this new form of 3D would revolutionize cinema to the extent that color and synchronized sound had.

If critics have a function anymore besides carving their own gravestones on the marble of modern cinema, it's to point a finger at films like Junebug, which sounds like a thousand other pictures but is actually something all its own: a Southern Gothic in the tradition of Flannery O'Connor that treats its characters as more than plot - movers or cardboard caricatures.

Since then, Dolby and the legendary space - opera saga have shared a long history as their own Rebel Alliance of sorts — one that's continuously innovated to push cinema sound and vision to new heights.

Unlike a theme park ride which often directs your attention through sound cues placed in a 360 degree fashion around a room (think of the Hall of Presidents in Walt Disney World), cinema sound must contend with a two - dimensional screen on which audiences must stayed focused, even with 3 - D presentations where your eyes remain fixed on a general axis, where any movement outside that axis might reveal the images to be cardboard cutouts — a phenomenon all too familiar to me.

One such principle applies to the use of silence in sound cinema.

With SuperWide X-Fi, even movie trailers from sources like YouTube sounded like an experience from a real cinema with an array of multiple speakers that can cost hundreds of thousands of dollars.

Not to sound overly dramatic, but the four years he's been on a cinema sabbatical of sorts have felt like an entire era of not being allowed to have nice things.

We can arrange the installation of a server system (the Dolby Digital Cinema presentation system) and a digital cinema projector, and perform on - site alignment of all technical aspects, including both picture and sound.

Add to that the film's premise and it all sounds like Shyamalan is on a journey to the past to reconnect with his love of cinema.

Dir Dario Argento (Leigh McCloskey, Irene Miracle, Alida Valli, Daria Nicolodi) Horror cinema at its most baroque: a simple libretto is embroidered with elaborate, flowing camera movements, abstract blocks of colour, unsettling sound effects and soundtrack composer Keith Emerson's thunderous rock variations on Verdi.

Guy Maddin is a Canadian filmmaker known for his contemporary use of film styles associated with silent and early sound cinema.

This disjunction of sounds and images is of course a classic narrative devise of cinema (27) and functions as a kind of pedagogical entry into the visual regime of the film; it does interpolate the viewer and ask him or her to connect these tracks, not necessarily to make sense of them, but at least to organise a suspended logic of connectivity.

Chapter 2 is an analysis of the soundtrack of Sauve qui peut (la vie) made with Anne - Marie Miéville — a film which «looks back to the problematic status of the human body and voice in early sound cinema» (Fox, 34).

The principle aspects of the stylistic system of film, cinematography, editing, mise en scène and sound are well - established in cinema studies and a primary tool for film analysis.

You can read more below, but this sounds like an awesome and juicy bit of pulp cinema that could turn into something more if everything breaks right for Black and company.