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O estudo aqui apresentado surge da necessidade de responder a questões muitas vezes levantadas durante o processo de mistura de som para cinema em surround 5.1. O grande objectivo desta dissertação é tentar perceber a que se deve o estabelecimento de determinadas tendências de misturas implementadas desde os primórdios da utilização do sistema surround 5.1. De forma a recolher informação foram realizados 3 projetos: uma análise da mistura de filmes reconhecidos pelos Óscares da da Academia; entrevistas a técnicos de som, quer de mistura quer de captação; e um exercício de re-mistura. Com os resultados obtidos da análise dos filme permitiu-se perceber a evolução de alguns aspectos das misturas de som, dando, assim, origem a alguns dos tópicos discutidos durante as entrevistas. Com o exercício da re-mistura, onde diferentes técnicos tiveram que misturar os mesmos 5 minutos de uma curta-metragem, foi possível evidenciar que de facto existe uma componente humana durante o processo de mistura e que por isso os resultados vão ser diferentes, tornando-se, assim, num processo muito subjectivo. Partindo dos resultados adquiridos conclui-se que existe uma série de factores, como a evoluresstecnolóecno e a interpretação artítica dos misturadores, que influenciaram e influenciam as escolhas estéticas. Sendo a tecnologia como principal influente no processo de mistura, seria pertinente saber que tecnologias melhoraram ou abriram portas a outros conceitos e fenómenos no processo de mistura de som para cinema.
The study here presented originates from the need to answer questions that often arise during the process of sound mixing in 5.1 surround for cinema. These questions focus on the reasons behind certains choices done during the mixing process, which implicitly have become mixing conventions or unwritten rules. That being said, the main objective of this dissertation is to understand what determined some of the mixing tendencies implemented since the beginning of the use of 5.1 surround system. In order to collect information, three projects were designed: the analysis of films acknowledged by the Academy; interviews with sound engineers, wether re-recording mixers or recording engineers; and a re-mixing exercise. From the results gathered during the analysis, one was able to understand the evolution of certain aspects of sound mixing, which in turn elicited some of the topics dicussed during the interviews. With the re-mixing exercise, where different engineers had to mix the same 5 minutes of a short-film, it was shown that a human component does truly exist during the mixing process and because of that the results will be different, therefore consisting on a really subjective process. Based on the results acquired we can conclude that there are a series of elements, like the technological evolution and the artistic interpretation from the mixers, that have influenced and still influence the aesthetic choices, Considering that technology is the main influential element in the sound mixing process, it would be interesting to know which technologies improved or opened the door to other concepts or tendencies during sound mixing for film.
The study here presented originates from the need to answer questions that often arise during the process of sound mixing in 5.1 surround for cinema. These questions focus on the reasons behind certains choices done during the mixing process, which implicitly have become mixing conventions or unwritten rules. That being said, the main objective of this dissertation is to understand what determined some of the mixing tendencies implemented since the beginning of the use of 5.1 surround system. In order to collect information, three projects were designed: the analysis of films acknowledged by the Academy; interviews with sound engineers, wether re-recording mixers or recording engineers; and a re-mixing exercise. From the results gathered during the analysis, one was able to understand the evolution of certain aspects of sound mixing, which in turn elicited some of the topics dicussed during the interviews. With the re-mixing exercise, where different engineers had to mix the same 5 minutes of a short-film, it was shown that a human component does truly exist during the mixing process and because of that the results will be different, therefore consisting on a really subjective process. Based on the results acquired we can conclude that there are a series of elements, like the technological evolution and the artistic interpretation from the mixers, that have influenced and still influence the aesthetic choices, Considering that technology is the main influential element in the sound mixing process, it would be interesting to know which technologies improved or opened the door to other concepts or tendencies during sound mixing for film.
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Keywords
Mistura de som Surround Sound design Tecnologia Filmes Sound mixing Sound design Technology Movies