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Historia Del Sonido Para El Audiovisual

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Historia Del Sonido Para El Audiovisual Materiales y tecnología II: Sonido para audiovisuales – Curso 2010-2011 1 Historia del sonido para el audiovisual Todos los espectáculos de imágenes animadas que se conocen en el transcurso de la historia se desarrollaron con acompañamiento sonoro [1] 1. Sonido (en directo) para acompañar el teatro ............................................................................. 3 2. Sonido (grabado) para acompañar el teatro ................................................................................ 3 3. Efectos de sonido (en directo y grabados) para la radio ......................................................... 4 4. Sonido (en directo) para el cine (mudo): 1894-1930’s ............................................................... 4 4.1. Música ................................................................................................................................................ 5 4.1.1. El cine nace musicalmente acompañado por un piano ............................................... 5 4.1.2. El lugar de la música: teatro de variedades (1895), cines (1905-1908) ................... 5 4.1.3. Instrumentación: pianistas, organistas y orquestas ...................................................... 5 4.1.4. Música de recopilada o compuesta genéricamente: cue sheets , kinotecas .............. 6 4.1.5. Música original: inicio en 1908 y continuadores en los 10’s ...................................... 7 4.1.6. Música original: la edad de oro en los años 20 ............................................................... 7 4.1.6.1. En Francia, los compositores consagrados se interesan por la banda sonora .............. 7 4.1.6.2. La Alemania expresionista: Nosferatu, música para Potemkin, Metropolis ................ 7 4.1.6.3. La Unión Soviética ................................................................................................................... 8 4.2. Voces .................................................................................................................................................. 8 4.3. Efectos de sonido ........................................................................................................................... 9 5. Sonido fonográfico para el cine (sonoro): sound on cylinder ................................................... 9 5. 1. El fonógrafo (1876): primer grabador/reproductor de sonido ......................................... 9 5. 2. El kinetoscopio (1891), un reproductor de imágenes de uso individual ....................10 5. 3. El kinetófono (1894), suma de los anteriores .........................................................................10 5. 4. Dickson Experimental Sound Film (1895) ....................................................................................10 5. 5. Phono-Cinéma-Théâtre (1900): primera exhibición pública de cine sonoro ..................11 6. Sonido gramofónico para el cine (sonoro): sound-on-disc ......................................................11 6. 1. El gramófono (1888): discos reproducibles fácilmente duplicables ..............................11 6. 2. Primer sound-on-disc (1900) ..........................................................................................................11 6. 3. Problemas del sound-on-disc inicial y «primera muerte del sonoro» (1913) ..............12 6. 4. Mejoras en la grabación, amplificación y reproducción del sonido (1910’s) .............12 6. 5. Vitaphone (1925), la revitalización del sound-on-disc ............................................................12 6.5.1. Cortometrajes Vitaphone (1925) ...............................................................................................13 6.5.2. Don Juan (1926): primer largometraje con sonido grabado ..........................................13 6.5.3. The jazz singer (1927): primer largometraje sonoro con voces sincrónicas ..............13 6.5.4. Lights of New York (1928): primer talkie ................................................................................14 7. Sonido óptico ( sound-on-film ) analógico para el cine (sonoro) ............................................14 7 .1. Principio del sonido óptico: densidad o área variable .......................................................14 7 .2. Fotografóno (1901): sonido óptico analógico de densidad variable ................................15 7 .3. Eugène Augustin Lauste (1910): sonido óptico analógico de área variable ..............15 7 .4. Phonofilm (1919) de De Forest, amplificación y aplicación comercial ..........................15 7 .5. Tri-Ergon (1922), la patente alemana. Weekend (Walter Rutmann) ................................15 7 .6. RCA Photophone (1925), sound-on-film de area variable ......................................................15 7 .7. Fox/Western Electric y su sound-on-film (1927-1929): pantallas porosas, Fox Movietone News ..........................................................................................................................................16 Historia del sonido para el audiovisual 1 Profesor: Medín Peirón Martín - [email protected] Materiales y tecnología II: Sonido para audiovisuales – Curso 2010-2011 2 7 .8. Cinephone (1927): Steamboat Willie (1928), todo el sonido post-sincronizado .............16 7 .9. La consolidación del sound-on-film sobre el sound-on-disc (1929) ...................................17 8. Transición hacia el sonoro y muerte del cine mudo (1927-1932) .......................................18 8. 1. Consecuencias sobre la industria de exhibición del cine mudo: salas y músicos ..18 8. 2. Cambios en la producción ............................................................................................................18 8. 3. Los actores ..........................................................................................................................................19 8. 4. El lenguaje cinematográfico .........................................................................................................19 8. 4. 1. El tiempo deja de ser elástico ..................................................................................................19 8.4.2. Planos largos, estáticos y montaje multicámara ..............................................................20 8.4.3. El uso del sonido: efectos y los sonidos off .........................................................................20 9. King Kong (1933) y el nacimiento del diseño de sonido en el cine ...................................20 10. Estandarización del sound on film óptico (30’s). Curva de la academia .......................20 11. Las primeras tentativas de sonido multicanal ......................................................................21 11. 1. El cine clásico siempre fue monofónico ..........................................................................21 11. 2. Napoleon Bonaparte (1934) .................................................................................................21 11. 3. Alan Blumlein (1935) y la invención de la estereofonía (dos o más canales) ....22 11. 4. Fantasía y Fantasound RCA (1940): 3 canales analógicos ópticos ........................22 11.4.1. La técnica del click-track ....................................................................................................22 10. 4. 2. Grabación multicanal .............................................................................................................23 10. 4. 3. Mezcla con el pan-pot ..............................................................................................................23 10. 4. 4. Reproducción con dos proyectores sincronizados .....................................................23 10. 4. 4. Fantasound ..................................................................................................................................23 12. El sound-on-film magnético (50’s): grandes formatos y desarrollo del multicanal ...24 12.1. Cinerama (1952-1962): 7 canales analógicos magnéticos ..............................................24 12.2. Cinemascope (1953-1967): 4 canales analógicos magnéticos (y/o 1 óptico) ..........25 12.3. Tood-AO (1955-1992): 6 canales analógicos magnéticos ...............................................25 13. Efectos y música sintéticos: Forbidden planet (1956’s) .........................................................25 14. Sound-on-film óptico y magnético en pugna (1970’s) ..........................................................26 14.1. Dolby Analog o Dolby Stereo (1976-presente): 4 canales analógicos ópticos codificados ......................................................................................................................................................26 14.2. Dolby Discret Tracks (1977): 6 canales analógicos magnéticos codificados ..........26 15. Aparición del término de «diseño de sonido» en el cine ..................................................27 15.1. La paternidad del término está entre Murch y Burtt .....................................................27 15.2. Una coyuntura favorable ..........................................................................................................27 16. Tecnologías digitales ......................................................................................................................27 16.1. LC Concept .......................................................................................................................................27 16.2. Dolby Digital o AC-3 (1992-presente): 6 canales digitales
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