8/18/2023 0 Comments Action film sound effects![]() The NOS shots, like everything else in the movie, were larger-than-life events. It also supported and reflected each person’s character traits. The unique sounds highlighted the different cars from shot to shot, to help the audience keep track of the characters. We split up the sound design for predubs like this:ĭSN A = Animal sweeteners, day-night transitions (Charles’ stuff)ĭSN B = Design FX (NOS, titles, whooshes, etc.)ĭSN C = Car sweeteners (multi-channel pre-panned bys, tires, engines)ĭSN D = Int car wind & “sense of speed” FXĮach character was represented by a different set of design material. He delivered spectacular tracks that added a new level of ferocity to the already outrageously aggressive car recordings. The sound design workload was already heavy, so we brought in Charles Deenen to take over that enormous task. We also planned for a layer of animal sweeteners ( a “sweetener” is any sound file that is laid into the soundtrack to “sweeten” the sound) for the cars. My tasks on the show were primarily traditional “sound design” moments, and a few specialty sounds: CGI point-of-view shots flying inside of an engine, all the hi-tech NOS activations and associated power surges, some slow motion scenes, fast car by sweeteners, and most importantly: the “sense of speed”. You can see more pictures of the system in this French article here – it even mentions SoundStorm and my mentor/predecessor Lance Brown if you scroll down to “Sound Design”. ![]() Imagine having only 8 tracks available at one time! The interface consisted of a small touch screen. I was not present at the recording sessions myself, but I heard the results and they were phenomenal.Īll the cars were cut by SoundStorm editors using the Fostex Foundation 2000 system. Recording sessions continued on throughout the post production process. Every featured vehicle was researched and a suitable sound-alike was found. ![]() He assembled a top-notch team of recordists and started recording extensive car libraries of a huge number of exotic cars. Supervising Sound Editor Bruce Stambler knows cars. Although I was exploring new audio territory on a huge project, I knew the soundtrack itself was in good hands. It also marked the first time I worked on a multichannel surround speaker system. I began work on “The Fast and the Furious” in 2000, while I was still the “new guy” at SoundStorm. I’ve had the good fortune to work on four of his films, and each one has been a blast. He also knows exactly what he wants sound to do for his films. His action sequences are visceral, and visually dynamic. Rob Cohen makes movies that are great for sound. The ultimate authority, in the end, is the director. A great mixer then sorts through the dialog, music and all the sound effects to find the perfect balance from moment to moment. As sound professionals, it’s our job to bring to the mix all the elements we think are needed. We want to thrill the moviegoers, not pummel them with audio. But with that opportunity comes the responsibility to clarify the action, and focus the audience’s attention. The busier the scene, and crazier the action, the more opportunities we have with sound to enhance the experience for the audience. “Action movies are pure sonic playgrounds. Creating unique fast and furious style sound effects took the work of many talented “foley” artists. This article explains the tricks used to get some of the sounds of the action sequences. ![]() ![]() I wrote in another blog post (you can read it here ) as to how the engine sounds were done, but here’s an excerpt of an interview back in April of 2011. One of the most notable aspects of the franchise has to be those “fast and furious” sound effects. ![]()
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