William Sarokin parlant sobre la perspectiva en el so directe. Sembla estrany que sigui americà! (extret de Design Sound)
What factors determine the level of sound perspective achievable in a scene? How important is that perspective at all during the shoot?
WS: I think proper perspective is very important. I almost always try to make the recording match the camera shot. Of course, there is always ‘movie magic’ that allows you to hear characters walking a block away having a quiet conversation as if you were right next to them. So, there are times when you surrender that perspective, but mostly, my goal is to:
1) make sure the dialog is audible.
2) while keeping it audible, try to make it sound natural.
I am very tolerant of noises caused by something you see in a shot or would expect to hear in that shot. I’ll often allow background noises to continue (even if the film crew has control) because it can affect the actors’ performance. For instance, in the film “North Country” we had a big scene in the machinery room at a pit mine in New Mexico. The noise was deafening, but I had the characters mic’d in their hardhats and I knew they would be audible. Out first shot was on Charlize Theron and the camera was facing away from the machinery so the assistant director had it turned off. I asked for it to be turned back on because I knew if we filmed the first shot with the machines off the actors would speak fairly quietly while when we turned around and filmed with the machines on they would be screaming. Nothing would have matched, so I asked for the machines to be left on for the entire sequence. The assistant director and location person were not used to a sound person asking for noise makers to be turned on, but the scene worked perfectly (sound-wise) if I do say so myself .
I am very intolerant of friendly fire – floor creaks caused by a slow moving dolly and crew, background chatter, walkie talkies, etc., or inappropriate locations (ie, trying to do a bucolic country scene near a major interstate, etc).