DOCSLIB.ORG

Dislocations in Sound Design for 3-D Films: Sound Design and the 3-D Cinematic Experience

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dislocations in Sound Design for 3-D Films: Sound Design and the 3-D Cinematic Experience DISLOCATIONS IN SOUND DESIGN FOR 3-D FILMS: SOUND DESIGN AND THE 3-D CINEMATIC EXPERIENCE DAMIAN CANDUSSO. MPSE Master of Arts Practice (Sound Design and Production) Bachelor of Fine Arts (Electronic Arts) A thesis submitted for the degree of Doctor of Philosophy of The Australian National University April 2015 Certificate of Authorship I Damian Candusso, Hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma at The Australian National University or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by colleagues with whom I have collaborated on during my candidature is fully acknowledged. I agree that the thesis be accessible for the purpose of study and research in accordance with the normal conditions established by the Australian National University.* Signature Date * Subject to confidentiality and copyright provisions as approved by the Australian National University. ii Table of Contents Certificate of Authorship ............................................................................................................................... ii Acknowledgements ..................................................................................................................................... viii Ethics Committee Approval.......................................................................................................................... x Abstract ............................................................................................................................................................... xi Terminology ................................................................................................................................................... xiii Terminology relating to cinema technologies ............................................................................. xiii Terminology relating to the various roles within a film sound crew ................................ xvii Accompanying Blu-ray and DVD Track Listings ............................................................................. xxii Chapter 1: Introduction and Overview of the Research Framework ................................ 1 Introduction to the research ........................................................................................................................ 1 Author background ..................................................................................................................................... 2 Establishing the framework ......................................................................................................................... 4 Project overview ............................................................................................................................................... 8 The research aims ....................................................................................................................................... 8 The research objectives ............................................................................................................................ 9 Locating the research ................................................................................................................................. 9 Chapter outline ............................................................................................................................................... 10 Methodology .................................................................................................................................................... 11 How I went about my research ........................................................................................................... 11 Research parameters ................................................................................................................................... 14 The current industry status quo: Film and film sound .................................................................. 14 Bridging sound and vision .................................................................................................................... 14 Identifying differences between sound for 2-D and 3-D visuals ........................................... 16 Industry methodologies .............................................................................................................................. 17 Motivation for seeking change ............................................................................................................ 18 Who dictates how the industry works? ................................................................................................ 19 International film industry ................................................................................................................... 19 Australian film industry ......................................................................................................................... 21 The internet: Education and collaboration .................................................................................... 22 Industry leadership ...................................................................................................................................... 23 Studio backing ............................................................................................................................................ 24 Developments and experimentation ................................................................................................ 24 Opportunities beyond the current state of play in cinema ...................................................... 25 Challenges and opportunities ................................................................................................................... 27 iii Chapter 2: Evolution of Sound and Vision: Film Technologies .......................................... 29 Introduction ..................................................................................................................................................... 29 Analogue film: Physical limitations ........................................................................................................ 31 Invention of the 3-D image ................................................................................................................... 31 Pre-synchronous sound ......................................................................................................................... 33 Synchronised sound: Changing the audience experience ........................................................ 34 Sound on film: Synchronisation between image and sound ................................................... 35 The birth of early surround sound: Increasing audio channels ............................................ 36 Magnetic sound and Cinerama ............................................................................................................ 37 The birth of colour and surround sound 3-D feature films ..................................................... 38 Widescreen 2-D challenges 3-D .......................................................................................................... 39 Dolby expands into film sound ............................................................................................................ 41 Digital sound: Establishing format standards ................................................................................... 44 Digital film: Digital 3-D and the Digital Cinema Package .............................................................. 46 Immersive sound: Expanding opportunities...................................................................................... 48 What is industry doing to address sound for 3-D? .......................................................................... 51 Conclusion ........................................................................................................................................................ 52 Chapter 3: Soundtrack Language and Space ............................................................................ 54 Introduction ..................................................................................................................................................... 54 Part 1: Literacies in audio and vision .................................................................................................... 55 Introduction ................................................................................................................................................ 55 Defining the soundtrack ......................................................................................................................... 55 What language already exists? ............................................................................................................ 56 Defining 3-D sound and sound for 3-D ............................................................................................ 59 Lack of sound design language ............................................................................................................ 59 Conclusion ..................................................................................................................................................
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • Draft PROGRAMME October 16
    “Media and Entertainment Business Conclave” Draft PROGRAMME October 16 -17, 2012 As on October 8th, 2012 Time Theme Day – I : 16 October 2012 9am – 10am Registration 10 -11 am Inaugural Lighting of Lamp Welcome Address : Dr. Kamal Haasan, Chairman, Media & Entertainment Business Conclave, FICCI Release of FICCI –Deloitte Knowledge Report Keynote Address : Barrie Osborne, Oscar-winning Director-Producer, Hollywood Inaugural Address: Shri Uday K Varma, Secretary, Ministry of Information & Broadcasting, Government of India Vote of Thanks: P. Murari, Advisor to President, FICCI 1 Session chaired by Kamal Haasan, Chairman, FICCI MEBC 11:15 – MEBC Broadcast Industry Knowledge Series: Opportunities in the digitized era. 12:30 pm Policy-makers and industry stakeholders share their vision and knowledge on the scope and opportunities for the sector during the progress of digitization. N Parameshwaran, Principal Advisor, TRAI* K Madhavan, MD, Asianet Rahul Johri , Senior Vice President & General Manager- South Asia, Discovery Networks Asia-Pacific Narayan Rao, Executive Vice Chairman, NDTV Group Supriya Sahu, Joint Secretary, Ministry of Information & Broadcasting * Ashok Mansukhani, President, MSO Alliance Moderated by : Bhupendra Chaubey, National Bureau Chief, CNN IBN* 11:15 – Redefining Digital Production 12:30 pm The concept of what's 'eye candy' in feature films has evolved over time - films are about people, feelings, ideas, circumstances and relationships and the 'emotional quotient' is provided essentially by an able director through screenplay, actors, music, cinematography. However, one element has changed every aspect of this mix and that is "visual effects" which is now a source of inspiration from the "pre- production" stage itself. This session will look at making cutting-edge visual effects come alive with an energizing dialogue with experts from Hollywood and India.
    [Show full text]
  • Ficha-Interfaces-Imaginadas-Robocop.Pdf
    Proyecto de Innovación Docente Interacción Persona-Ordenador 3º Grado en Ingeniería Informática 2017 Universidad de Salamanca RoboCop (1987) Robocop (título original) Análisis realizado por: Víctor Barrueco Gutiérrez Datos de producción Director: Paul Vernoeven Guionista: Edward Neumeier & Michael Miner Tipo: Película Duración: 103min Ficha en IMDB: http://www.imdb.com/title/tt0093870/ Sinopsis [Breve descripción de la historia que se cuenta] se propone un futuro no muy lejano en la ciudad de Detroit, una ciudad llena de delincuencia. Murphy un agente de policía muere en acto de servicio. Para acabar con el crimen se aprueba la creación de un nuevo agente híbrido entre humano y maquina para el cual se usa los restos de Murphy. Necesidades [Análisis de las necesidades de usuario que propician la propuesta de las interfaces] En la película se ven una gran cantidad de tecnologías mayormente orientadas al uso militar y formas de acabar con la delincuencia de forma agresiva. En ella vemos varias necesidades tanto en forma física (hardware) como software. A continuación, se enumeran los principales dispositivos (tecnología ¡/interfaz) que aparecen en la película junto a las tareas de usuario que permiten realizar. Primera Necesidades aparición Controles visuales y sonido 0:10:30 En la película aparece un robot militar cuyo fin es repeler la resistencia. Al detector una amenaza (de foma visual) lanza una advertencia al objetivo. En la película se muestra como falla el reconocimiento de sonido al no ser capaz de reconocer el ruido que Enlace al clip: hace la pistolaal caer. https://www.youtube.com/watch?v=TstteJ1eIZg 2 Primera Necesidades aparición Sintetizador de voz 0:10:45 Al igual que en el gadget anterior, este aparece por primera vez en el ED 209.
    [Show full text]
  • CRB 2002 Report [Pdf]
    Motion Picture Production in California By Martha Jones, Ph.D. Requested by Assembly Member Dario Frommer, Chair of the Select Committee on the Future of California’s Film Industry MARCH 2002 CRB 02-001 Motion Picture Production in California By Martha Jones, Ph.D. ISBN 1-58703-148-5 Acknowledgements Many people provided assistance in preparing a paper such as this, but several deserve special mention. Trina Dangberg helped immensely in the production of this report. Judy Hust and Roz Dick provided excellent editing support. Library assistance from the Information Services Unit of the California Research Bureau is gratefully acknowledged, especially John Cornelison, Steven DeBry, and Daniel Mitchell. Note from the Author An earlier version of this document was first presented at a roundtable discussion, Film and Television Production: California’s Role in the 21st Century, held in Burbank, California on February 1, 2002, and hosted by Assembly Member Dario Frommer. Roundtable participants included the Entertainment Industry Development Corporation (EIDC), The Creative Coalition (TCC) and the Screen Actors Guild (SAG). Assembly Member Frommer is chair of the Select Committee on the Future of California’s Film Industry. This is a revised version of the report. Internet Access This paper is also available through the Internet at the California State Library’s home page (www.library.ca.gov) under CRB Reports. Contents EXECUTIVE SUMMARY .............................................................................................. 1 I. OVERVIEW OF THE CALIFORNIA MOTION PICTURE INDUSTRY............ 5 SIZE AND GROWTH OF THE CALIFORNIA MOTION PICTURE INDUSTRY ............................ 5 The Motion Picture Industry Measured by the Value of Output During the 1990s.... 5 The Motion Picture Industry Measured by Employment ...........................................
    [Show full text]
  • Full Text (PDF)
    Document generated on 09/29/2021 9:46 a.m. Séquences La revue de cinéma Quand ER est visité par QT Sylvie Gendron L’État du cinéma en salles au Québec Number 179, July–August 1995 URI: https://id.erudit.org/iderudit/49640ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Gendron, S. (1995). Review of [Quand ER est visité par QT]. Séquences, (179), 56–57. Tous droits réservés © La revue Séquences Inc., 1995 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Télévision qualités qu'il avait perdues sur cassette. Sur la bande-son, les fréquences aiguës sont mieux cali­ brées, tandis que les basses retrouvent leur impact premier (on peut parfaitement distinguer chacun des pas pneumatiques de RoboCop et on s'étonne de­ vant la puissance effrayante de son rival, ED-209). Sur les pistes analogiques, on peut entendre tout au long du film les commentaires du réalisateur Paul Verhoeven, du scénariste Edward Neumeier et du producteur Jon Davison. Les anecdotes racontées par Neumeier se révèlent fascinantes et enri­ chissantes, mais il faut entendre le charmant accent de Verhoeven (il est hollandais d'origine, RoboCop étant son premier film américain) qui s'enthousiasme et s'excite encore aujourd'hui pour le projet.
    [Show full text]
  • Convention Program
    AAEESS 112244tthh CCOONNVVEENNTTIIOONN PPRROOGGRRAAMM May 17 – 20, 2008 RAI International Exhibition & Congress Centre, Amsterdam The AES has launched a new opportunity to recognize 1University of Salford, Salford, Greater student members who author technical papers. The Stu- Manchester, UK dent Paper Award Competition is based on the preprint 2ICW, Ltd., Wrexham, Wales, UK manuscripts accepted for the AES convention. Forty-two student-authored papers were nominated. This paper gives an account of work carried out The excellent quality of the submissions has made the to assess the effects of metallized film selection process both challenging and exhilarating. polypropylene crossover capacitors on key sonic The award-winning student paper will be honored dur- attributes of reproduced sound. The capacitors ing the convention, and the student-authored manuscript under investigation were found to be mechani- will be published in a timely manner in the Journal of the cally resonant within the audio frequency band, Audio Engineering Society. and results obtained from subjective listening Nominees for the Student Paper Award were required tests have shown this to have a measurable to meet the following qualifications: effect on audio delivery. The listening test methodology employed in this study evolved (a) The paper was accepted for presentation at the from initial ABX type tests with set program AES 124th Convention. material to the final A/B tests where trained test (b) The first author was a student when the work was subjects used program material that they were conducted and the manuscript prepared. familiar with. The main findings were that (c) The student author’s affiliation listed in the manu- capacitors used in crossover circuitry can exhibit script is an accredited educational institution.
    [Show full text]
  • Contenido Estrenos Mexicanos
    Contenido estrenos mexicanos ............................................................................120 programas especiales mexicanos .................................. 122 Foro de los Pueblos Indígenas 2019 .......................................... 122 Programa Exilio Español ....................................................................... 123 introducción ...........................................................................................................4 Programa Luis Buñuel ............................................................................. 128 Presentación ............................................................................................................... 5 El Día Después ................................................................................................ 132 ¡Bienvenidos a Morelia! ................................................................................... 7 Feratum Film Festival .............................................................................. 134 Mensaje de la Secretaría de Cultura ....................................................8 ......... 10 Mensaje del Instituto Mexicano de Cinematografía funciones especiales mexicanas .......................................137 17° Festival Internacional de Cine de Morelia ............................11 programas especiales internacionales................148 ...........................................................................................................................12 jurados Programa Agnès Varda ...........................................................................148
    [Show full text]
  • PRESSBOOK ITALIANO Di IL CAVALIERE OSCURO
    WARNER BROS. PICTURES Presenta In associazione con LEGENDARY PICTURES Una produzione SYNCOPY Un film di CHRISTOPHER NOLAN CHRISTIAN BALE (THE DARK KNIGHT RISES) MICHAEL CAINE GARY OLDMAN ANNE HATHAWAY TOM HARDY MARION COTILLARD JOSEPH GORDON-LEVITT E MORGAN FREEMAN 1 Musiche HANS ZIMMER Costumi LINDY HEMMING Coproduttore JORDAN GOLDBERG Montaggio LEE SMITH, A.C.E Scenografie NATHAN CROWLEY KEVIN KAVANAIGH Direttore della fotografia WALLY PFISTER, A.S.C. Produttori Esecutivi BENJAMIN MELNIKER MICHAEL E. USLAN KEVIN DE LA NOY THOMAS TULL Basato sui personaggi di Batman creati da BOB KANE E pubblicati da DC COMICS Soggetto CHRISTOPHER NOLAN e DAVID S. GOYER 2 Sceneggiatura JOHNATHAN NOLAN e CHRISTOPHER NOLAN Prodotto da EMMA THOMAS CHRISTOPHER NOLAN CHARLES ROVEN Diretto da CHRISTOPHER NOLAN Distribuzione WARNER BROS. PICTURES ITALIA Durata: 2h 44’ Uscita italiana: 29 Agosto 2012 I materiali sono a disposizione sul sito “Warner Bros. Media Pass”, al seguente indirizzo: https://mediapass.warnerbros.com Ufficio stampa WB Pictures Italia Emanuela Semeraro [email protected] Cinzia Fabiani [email protected] Antonio Viespoli [email protected] Ufficio stampa film Chicca Ungaro [email protected] Sito: www.ilcavaliereoscuroilritorno.it Facebook: www.facebook.com/ilcavaliereoscuroilritorno Twitter: https://twitter.com/DarkKnight_IT Canale WB: www.youtube.com/user/warnerbrostrailers 3 Warner Bros. Pictures e Legendary Pictures presentano, “Il Cavaliere Oscuro - Il Ritorno” , l’epica conclusione della trilogia di Batman, del regista Christopher Nolan. Alla guida di un cast stellare internazionale, il premio Oscar ® Christian Bale (“The Fighter”), di nuovo nel duplice ruolo di Bruce Wayne/Batman. Il film vede anche la partecipazione di Anne Hathaway, nel ruolo di Selina Kyle; Tom Hardy nel ruolo di Bane; il premio Oscar ® Marion Cotillard (“La Vie en Rose”) nel ruolo di Miranda Tate e Joseph Gordon-Levitt, nel ruolo di John Blake.
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • Visit Imdb.Com for Up-To-The-Minute Academy Award Updates, and View
    NOMINEES FOR THE 84th ANNUAL ACADEMY AWARDS Best Motion Picture of the Year Best Animated Feature Film Best Achievement in Sound Mixing The Artist (2011): Thomas Langmann of the Year The Girl with the Dragon Tattoo (2011): David Parker, The Descendants (2011): Jim Burke, Alexander Payne, A Cat in Paris (2010): Alain Gagnol, Jean-Loup Felicioli Michael Semanick, Ren Klyce, Bo Persson Jim Taylor Chico & Rita (2010): Fernando Trueba, Javier Mariscal Hugo (2011/II): Tom Fleischman, John Midgley Extremely Loud and Incredibly Close (2011): Scott Rudin Kung Fu Panda 2 (2011): Jennifer Yuh Moneyball (2011): Deb Adair, Ron Bochar, The Help (2011): Brunson Green, Chris Columbus, Puss in Boots (2011): Chris Miller David Giammarco, Ed Novick Michael Barnathan Rango (2011): Gore Verbinski Transformers: Dark of the Moon (2011): Greg P. Russell, Hugo (2011/II): Graham King, Martin Scorsese Gary Summers, Jeffrey J. Haboush, Peter J. Devlin Midnight in Paris (2011): Letty Aronson, Best Foreign Language Film War Horse (2011): Gary Rydstrom, Andy Nelson, Tom Stephen Tenenbaum of the Year Johnson, Stuart Wilson Moneyball (2011): Michael De Luca, Rachael Horovitz, Bullhead (2011): Michael R. Roskam(Belgium) Best Achievement in Sound Editing Brad Pitt Footnote (2011): Joseph Cedar(Israel) The Tree of Life (2011): Nominees to be determined In Darkness (2011): Agnieszka Holland(Poland) Drive (2011): Lon Bender, Victor Ray Ennis War Horse (2011): Steven Spielberg, Kathleen Kennedy Monsieur Lazhar (2011): Philippe Falardeau(Canada) The Girl with the Dragon Tattoo
    [Show full text]
  • 10700990.Pdf
    The Dolby era: Sound in Hollywood cinema 1970-1995. SERGI, Gianluca. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20344/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20344/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield Hallam University jj Learning and IT Services j O U x r- U u II I Adsetts Centre City Campus j Sheffield Hallam 1 Sheffield si-iwe Author: ‘3£fsC j> / j Title: ^ D o ltiu £ r a ' o UJTvd 4 c\ ^ £5ori CuCN^YTNCa IQ IO - Degree: p p / D - Year: Q^OO2- Copyright Declaration I recognise that the copyright in this thesis belongs to the author. I undertake not to publish either the whole or any part of it, or make a copy of the whole or any substantial part of it, without the consent of the author. I also undertake not to quote or make use of any information from this thesis without making acknowledgement to the author. Readers consulting this thesis are required to sign their name below to show they recognise the copyright declaration. They are also required to give their permanent address and date.
    [Show full text]
  • Sound: Eine Arbeitsbibliographie 2003
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff Sound: Eine Arbeitsbibliographie 2003 https://doi.org/10.25969/mediarep/12795 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen: Sound: Eine Arbeitsbibliographie. Hamburg: Universität Hamburg, Institut für Germanistik 2003 (Medienwissenschaft: Berichte und Papiere 17). DOI: https://doi.org/10.25969/mediarep/12795. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0017_03.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft / Kiel: Berichte und Papiere 17, 1999: Sound. ISSN 1615-7060. Redaktion und Copyright dieser Ausgabe: Hans J. Wulff. Letzte Änderung: 21.9.2008. URL der Hamburger Ausgabe: .http://www1.uni-hamburg.de/Medien/berichte/arbeiten/0017_03.pdf Sound: Eine Arbeitsbibliographie Hans J. Wulff Stille und Schweigen. Themenheft der: Navigatio- Akemann, Walter (1931) Tontechnik und Anwen- nen: Siegener Beiträge zur Medien- und Kulturwis- dung des Tonkoffergerätes. In: Kinotechnik v. 5.12. senschaft 3,2, 2003. 1931, pp. 444ff. Film- & TV-Kameramann 57,9, Sept. 2008, pp. 60- Aldred, John (1978) Manual of sound recording. 85: „Originalton“. 3rd ed. :Fountain Press/Argus Books 1978, 372 pp. Aldred, John (1981) Fifty years of sound. American Cinematographer, Sept. 1981, pp. 888-889, 892- Abbott, George (1929) The big noise: An unfanati- 897.
    [Show full text]