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A theory of film music


 A theory of film music

A theory of film music

Tony Zhou’s amazing video-essay on the “Marvel Symphonic Universe” caused a lot of controversy online. This excellent video response by Daniel Golding is titled “A theory of film music” and poises the question: “How original has film music REALLY been? Worth the watch!

The Social Network – Designing Dialogue


 The Social Network – Designing Dialogue

The Social Network – Designing Dialogue

This video-essay by the great Lewis Bond was recently uploaded to his Channel Criswell. As usual, he has a very fast-paced speaking style, so perhaps a second viewing is in order. That being said, it is a very well-structured exposition on the function of dialog within a film.

Composition in Storytelling


 Composition in Storytelling

Composition in Storytelling

In this video-essay uploaded to his Channel Criswell, Lewis Bond talks about composition as an integral part of visual storytelling in film. Like all of his videos, this one is truly informative and definitely worth a watch!

Constructive Editing in Robert Bresson’s “Pickpocket”


 Constructive Editing in Robert Bresson’s “Pickpocket”

Constructive Editing in Robert Bresson’s “Pickpocket”

Film theorist and teacher David Bordwell authorized us to translate and subtitle this video about the editing technique used in the classic Bresson film “Pickpocket”.
It’s not a video about film sound, but rather about editing and the language of film.
The video was subtitled by Pablo Gutiérrez.

Hollywood Scores and Soundtracks: What do they sound like?


 Hollywood Scores and Soundtracks: What do they sound like?

Hollywood Scores and Soundtracks: What do they sound like?

This is a complementary video to “The Marvel Symphonic Universe”. It’s part of Tony Zhou’s amazing investigation into the world of temp music. You can access the original video in his YouTube Channel, it is definitely worth taking investigating!

The Marvel Symphonic Universe


 The Marvel Symphonic Universe

The Marvel Symphonic Universe

In Tony Zhou’s excellent YouTube Channel, we found this incredible video-essay. What truly amazed us was the amount of investigation needed to make it; in other words, had we been asked to do a similar investigation we wouldn’t have been able to come across a tenth of the examples and materials that he uses to get his point across. Please, visit his channel – and if you can - subscribe, he truly deserves it!

My Voyage to Italy – Part 1


 My Voyage to Italy – Part 1

My Voyage to Italy – Part 1

This is the first of a two part documentary where Martin Scorsese shows us how his childhood was impacted by watching italian cinema on the television in his childhood home. His analysis is retrospective and it gives us great insight into the essence of what makes him the director he is today. Truly worth watching!

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

My Voyage to Italy – Part 2


 My Voyage to Italy – Part 2

My Voyage to Italy – Part 2

This is the second of a two part documentary where Martin Scorsese shows us how his childhood was impacted by watching italian cinema on the television in his childhood home. His analysis is retrospective and it gives us great insight into the essence of what makes him the director he is today. Truly worth watching!

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

Children of Men – Don’t Ignore the Background


 Children of Men – Don’t Ignore the Background

Children of Men – Don’t Ignore the Background

In Evan Puschak’s YouTube Channel we discovered this very interesting video-essay, which we considered worth sharing.
Translation and subtitling were made by Tomás Ramos, and corrections/edits by Pablo Gutiérrez.
You can watch the original video here.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

In The Mood For Love – Frames Within Frames


 In The Mood For Love – Frames Within Frames

In The Mood For Love – Frames Within Frames

In Evan Puschak’s YouTube Channel we discovered this very interesting video-essay, which we considered worth sharing.
Translation and subtitling were made by Gabriel Cominotti, and corrections/edits by Pablo Gutiérrez.
You can watch the original video here.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

La Haine – An Introduction with Jodie Foster


 La Haine  – An Introduction with Jodie Foster

La Haine – An Introduction with Jodie Foster

Jodie faster delivers an excellent introduction to the French movie “La Haine”. Since she is a very cultivated and intelligent actress/director, her opinions are truly worth listening to. They really do shed a light on many of the most important aspects of this transcendent work of cinema history.

Interview with Walter Murch – Part 1 of 3


 Interview with Walter Murch – Part 1 of 3

Interview with Walter Murch – Part 1 of 3

First of a three part interview with Walter Murch, by Benjamin B, who has a very interesting YouTube Channel, worth checking out!

Interview with Walter Murch – Part 2 of 3


 Interview with Walter Murch – Part 2 of 3

Interview with Walter Murch – Part 2 of 3

Second of a three part interview with Walter Murch, by Benjamin B, who has a very interesting YouTube Channel, worth checking out!

Interview with Walter Murch – Part 3 of 3


 Interview with Walter Murch – Part 3 of 3

Interview with Walter Murch – Part 3 of 3

Third of a three part interview with Walter Murch, by Benjamin B, who has a very interesting YouTube Channel, worth checking out!

La Haine – So Far, So Good


 La Haine – So Far, So Good

La Haine – So Far, So Good

Lewis Bond has a wonderful YouTube Channel called “Channel Criswell”. In it, he uploads video-essays where he analyzes film and the language of cinematography in general. In this case, he does a brief study of the very underrated French masterpiece “La Haine”, directed by French actor and director Mathieu Kassovitz.

Colour In Storytelling


 Colour In Storytelling

Colour In Storytelling

In Lewis Bond’s YouTube Channel we discovered this very interesting video-essay on the use of color in film. We asked for his permission to translate and subtitle it into Spanish but never got an answer.
His channel, under the moniker Channel Criswell, is dedicated to the analysis of cinematic discourse, and even though in this case the video is not about our area of expertise (sound), we find it fascinating that other fields are also trying to find theoretical coherence in film. It is exactly what we try to translate when working on sound.
You can watch the original video here.
A special thanks to Pablo Gutiérrez, for the very thoughtful translation.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

City of God – The Open World Movie


 City of God – The Open World Movie

City of God – The Open World Movie

In Lewis Bond’s YouTube Channel we discovered this very interesting video-essay on the Brazilian movie “City of God”. We asked for his permission to translate and subtitle it into Spanish but never got an answer.
His channel, under the moniker Channel Criswell, is dedicated to the analysis of cinematic discourse, and even though in this case the video is not about our area of expertise (sound), we find it fascinating that other fields are also trying to find theoretical coherence in film. It is exactly what we try to translate when working on sound.
You can watch the original video here.
A special thanks to Pablo Gutiérrez, for the very thoughtful translation.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

Immersive Sound - Effects Editing And Mixing


 Immersive Sound - Effects Editing And Mixing

Immersive Sound - Effects Editing And Mixing

This video (watch the original here) was produced by SoundWorks Collection and Mix Magazine. When we saw it we felt it was worth sharing amongst all of us involved in the spanish-speaking sound industry. In this particular video we have some of the most world-renowned sound designers, and effects editors/mixers. Some of the terminology used is for the more knowledgeable on the subject, so in the video description we included a small Glossary in spanish for those who would like to follow along! Spanish subtitles were made by Pablo Gutiérrez and Matías Vilaro.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

Immersive Sound – Music and Dialogue


 Immersive Sound – Music and Dialogue

Immersive Sound – Music and Dialogue

This video (watch the original here) was produced by SoundWorks Collection and Mix Magazine. When we saw it we felt it was worth sharing amongst all of us involved in the spanish-speaking sound industry. In this particular video we have some of the most world-renowned music, production sound mixers, and dialogue editors. Some of the terminology used is for the more knowledgeable on the subject, so in the video description we included a small Glossary in spanish for those who would like to follow along! Spanish subtitles were made by Pablo Gutiérrez and Matías Vilaro.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

A Personal Journey with Martin Scorsese Through American Movies


 A Personal Journey with Martin Scorsese Through American Movies

A Personal Journey with Martin Scorsese Through American Movies

Part 1 of 3

Part 1 of 3 of this wonderful documentary. In this case, not about film sound, but rather, about the history of American Cinema and its influence on director Martin Scorsese.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

A Personal Journey with Martin Scorsese Through American Movies


 A Personal Journey with Martin Scorsese Through American Movies

A Personal Journey with Martin Scorsese Through American Movies

Part 2 of 3

Part 2 of 3 of this wonderful documentary. In this case, not about film sound, but rather, about the history of American Cinema and its influence on director Martin Scorsese.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

A Personal Journey with Martin Scorsese Through American Movies


 A Personal Journey with Martin Scorsese Through American Movies

A Personal Journey with Martin Scorsese Through American Movies

Part 3 of 3

Part 3 of 3 of this wonderful documentary. In this case, not about film sound, but rather, about the history of American Cinema and its influence on director Martin Scorsese.

(Copyright Disclaimer: Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use." I do not own the rights to this movie excerpt, they belong to BFI, I am using the clip for critique and comment in a non-profit manner for educational fair use.)

Music in Film - The Big Score - Part 1 of 3


 Music in Film - The Big Score - Part 1 of 3

Music in Film - The Big Score - Part 1 of 3

This is the first of three very good BBC programs on music in film.
Who informed me of the existence of this series was Mariano Chaves.
Spanish subtitles made by Gabriel Sigillo.

Music in Film - Pop in Film - Part 2 of 3


 Music in Film - Pop in Film - Part 2 of 3

Music in Film - Pop in Film - Part 2 of 3

This is the second of three very good BBC programs on music in film.
Who informed me of the existence of this series was Mariano Chaves.
Spanish subtitles made by Gabriel Sigillo.

Music in Film - New Frontiers - Part 3 of 3


 Music in Film - New Frontiers - Part 3 of 3

Music in Film - New Frontiers - Part 3 of 3

This is the last of three very good BBC programs on music in film.
Who informed me of the existence of this series was Mariano Chaves.
Spanish subtitles made by Gabriel Sigillo.

Drive - The Quadrant System


 Drive - The Quadrant System

Drive - The Quadrant System

We found this video on Tony Zhou's YouTube channel: https://www.youtube.com/user/everyframeapainting.
I found it very interesting and instructive. I asked him permission to put subtitles in Spanish and he only asked me to name the origin of the video. So Tony Zhou, thank you very much.
Subtitles made by Pablo Gutierrez.

David Fincher - The other way is wrong


 David Fincher - The other way is wrong

David Fincher - The other way is wrong

We found this video on Tony Zhou's YouTube channel: https://www.youtube.com/user/everyframeapainting.
I found it very interesting and instructive. I asked him permission to put subtitles in Spanish and he only asked me to name the origin of the video. So Tony Zhou, thank you very much.
Subtitles made by Pablo Gutierrez.

Akira Kurosawa - Composing Movement


 Akira Kurosawa - Composing Movement

Akira Kurosawa - Composing Movement

We found this video on Tony Zhou's YouTube channel: https://www.youtube.com/user/everyframeapainting.
I found it very interesting and instructive. I asked him permission to put subtitles in Spanish and he only asked me to name the origin of the video. So Tony Zhou, thank you very much.
Subtitles made by Pablo Gutierrez.

The Foley Grail - 1 of 13 - Foley, FX y ADR


 The Foley Grail - 1 of 13 - Foley, FX y ADR

The Foley Grail - 1 of 13 - Foley, FX y ADR

This video is the first of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 2 of 13 - Clothing Friction


 The Foley Grail - 2 of 13 - Clothing Friction

The Foley Grail - 2 of 13 - Clothing Friction

This video is the second of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this video she talks about "Clothing Friction".
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 3 of 13 - Continuity in editing


 The Foley Grail - 3 of 13 - Continuity in editing

The Foley Grail - 3 of 13 - Continuity in editing

This video is the third of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this video Vanessa talks about the problem of "lack of continuity (rhythm) caused by image editing".
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 4 of 13 - Dance


 The Foley Grail - 4 of 13 - Dance

The Foley Grail - 4 of 13 - Dance

This video is the fourth of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this part Vanessa talks about the cases where there's dance.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 5 of 13 - Horses, Tumbrils, Gallop


 The Foley Grail - 5 of 13 - Horses, Tumbrils, Gallop

The Foley Grail - 5 of 13 - Horses, Tumbrils, Gallop

This video is the fifth of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this part Vanessa talks about the cases where there're Horses, Tumbrils and Gallop.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 6 of 13 - Resonance, barefoot and gun in ventilation


 The Foley Grail - 6 of 13 - Resonance, barefoot and gun in ventilation

The Foley Grail - 6 of 13 - Resonance, barefoot and gun in ventilation

This video is the sixth of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this part Vanessa talks about the cases where there're resonances, bare feet and a gun falling on a ventilation duct.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 7 of 13 - Effects or Foley


 The Foley Grail - 7 of 13 - Effects or Foley

The Foley Grail - 7 of 13 - Effects or Foley

This video is the seventh of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this video Vanessa talks about the distinction between effects, contributed and edited by Fx and Foley editor.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 8 of 13 - Sound subjectivity


 The Foley Grail - 8 of 13 - Sound subjectivity

The Foley Grail - 8 of 13 - Sound subjectivity

This video is the eighth of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this video Vanessa talks about the sound subjectivity.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 9 of 13 - There isn't rules


 The Foley Grail - 9 of 13 - There isn

The Foley Grail - 9 of 13 - There isn't rules

This video is the nineth of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
Vanessa talks in this video that there are no rules. All is possible. Or "Why not?".
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 10 of 13 - Footsteps and Sand


 The Foley Grail - 10 of 13 - Footsteps and Sand

The Foley Grail - 10 of 13 - Footsteps and Sand

This video is the tenth of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this part Vanessa talks about footsteps on sand.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 11 of 13 - Footsteps


 The Foley Grail - 11 of 13 - Footsteps

The Foley Grail - 11 of 13 - Footsteps

This video is the eleventh of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this part Vanessa talks about footsteps.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 12 of 13 - Western Schools


 The Foley Grail - 12 of 13 - Western Schools

The Foley Grail - 12 of 13 - Western Schools

This video is the twelfth of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this part Vanessa talks about the Schools of Foley from the West (Los Angeles and San Francisco, specially).
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

The Foley Grail - 13 of 13 - What the story needs. Paper


 The Foley Grail - 13 of 13 - What the story needs. Paper

The Foley Grail - 13 of 13 - What the story needs. Paper

This video is the thirteenth of 13 accompanying the book The Foley Grail: The Art of Performing Sound for Film, Games, and Animation by Vanessa Theme Ament (Focal Press).
Is not that common to find such a serious material on the issue of Foley.
This is done by a professional Foley Artist.
In this part Vanessa talks about "what are the needs for the story that is being told" and the problem of the movement and noise of papers.
I recommend it.
The subtitled in Spanish was made by Gabriel Sigillo.

Lon Bender - Sound Supervisor of the movie "Drive"


 Lon Bender - Sound Supervisor of the movie "Drive"

Lon Bender - Sound Supervisor of the movie "Drive"

Pablo Gutierrez told me about this video. I found it very good. I asked him if I could put subtitles in Spanish on it.
I think it's worth seeing.

How we did the sound of Wild Tales - 1 of 4 - English Subs


 How we did the sound of Wild Tales - 1 of 4 - English Subs

How we did the sound of Wild Tales - 1 of 4 - English Subs

(Part 1 of 4)

This is the first part of the lecture we gave at CAPER 2014.
The topic here is Production Sound by Javier Farina the film's Production Sound Mixer.
The lecture was done in spanish. We added english subs.
Translation done by Gonzalo Matijas.

How we did the sound of Wild Tales - 2 of 4 - English Subs


 How we did the sound of Wild Tales - 2 of 4 - English Subs

How we did the sound of Wild Tales - 2 of 4 - English Subs

(Part 2 of 4)

Second part of the lecture we did at CAPER 2014.
The subject is sound design given by Gonzalo Matijas.
The lecture was done in spanish. We added english subs.
Translation done by Gonzalo Matijas.

How We did the sound of Wild Tales - 3 of 4 - English Subs


 How We did the sound of Wild Tales - 3 of 4 - English Subs

How We did the sound of Wild Tales - 3 of 4 - English Subs

(Part 3 of 4)

This is the third part of the lecture we gave at CAPER 2014.
Gustavo Santaolalla told us in a video his relationship with "wild stories". Then an example of basic edition of music.
The lecture was done in spanish. We added english subs.
Translation done by Gonzalo Matijas.

How We did the sound of Wild Tales - 4 of 4 - English Subs


 How We did the sound of Wild Tales - 4 of 4 - English Subs

How We did the sound of Wild Tales - 4 of 4 - English Subs

(Part 4 of 4)

This is part four of the lecture we gave at CAPER 2014.
Here we spoke a bit about ADR.
Note: The Dialogue Editor was Nahuel Palenque. The tasks of dialogue edition were so laborious and dense that another editor, Matías Vilaro, was in charge of ADR edition alone, so Nahuel was not overburdened.

The lecture was done in spanish. We added english subs.
Translation done by Gonzalo Matijas.

How we did the sound of VOLEY - 1 of 3 - English Subs


 How we did the sound of VOLEY - 1 of 3 - English Subs

How we did the sound of VOLEY - 1 of 3 - English Subs

(Part 1 of 3)

First part of the lecture we gave at CAPER 2014 about VOLEY, the movie directed by Martín Piroyansky.
In this part Rubén Piputto speaks about his role as Production Sound Mixer.
The lecture was done in spanish. We added english subs.
Translation done by Gonzalo Matijas.

How we did the sound of VOLEY - 2 of 3 - English Subs


 How we did the sound of VOLEY - 2 of 3 - English Subs

How we did the sound of VOLEY - 2 of 3 - English Subs

(Part 2 of 3)

Second part of the lecture we did at CAPER 2014.
The theme here was Foley done in the very same location where it was filmed the movie.
The lecture was done in spanish. We added english subs.
Translation done by Gonzalo Matijas.

How we did the sound of VOLEY - 3 of 3 - English Subs


 How we did the sound of VOLEY - 3 of 3 - English Subs

How we did the sound of VOLEY - 3 of 3 - English Subs

(Part 3 of 3)

Third part of the lecture we did at CAPER 2014.
Questions and answers.
The lecture was done in spanish. We added english subs.
Translation done by Gonzalo Matijas.

The Art of silence - Martin Scorsese


I found this video on the YouTube channel of Tony Zhou.
I found it very interesting and instructive. I asked him for permission to subtitle it into Spanish and he only asked me to name the source of the film.
So Tony Zhou, thank you very much.


 The Art of silence - Martin Scorsese

The Art of silence - Martin Scorsese

by Tony Zhou

Interview with Alfred Hitchcock


The TV channel Canal Encuentro broadcasted this interview with Alfred Hitchcock with subtitles in Spanish.
I was very interested in his views on how to tell stories. Where it almost doesn't matter the story itself but the way that story is told.
While he doesn't specifically talks about sound, I find his comments very timely and related to our daily job.
To me, this is listening to a Great Teacher and as such, everything he says, is very nutritious and interesting.


 Interview with Alfred Hitchcock

Interview with Alfred Hitchcock

From the TV show Telescope, with Fletcher Markle

Interview with Randy Thom


I found this video on the channel aniSecond .
I liked it because it talks about several things that usually nobody talks about. I asked for permission to subtitle it into Spanish. Their answer was possitive as long as we named the source.
So I meeting that requirement here.
I hope you like it.


 Interview with Randy Thom

Interview with Randy Thom

by aniSecond Video

Les Nuances de la Voix


Here's a short film from the director Gérard Corbiau that shows sound pressure levels (SPL) in the everyday life. Back in 1994, Gérard Corbiau directed the film "Farinelli (Il castrato)" . He is passionate about sound, music, dance and film.


 Les Nuances de la Voix

Les Nuances de la Voix

by film director Gérard Corbiau

Simon Hayes: Sound Mini Masterclass


 Simon Hayes: Sound Mini Masterclass

Simon Hayes: Sound Mini Masterclass

The original video belongs to BAFTA GURU.
Thank you BAFTA GURU.

Walter Murch: On Editing


 Walter Murch: On Editing

Walter Murch: On Editing

The original video belongs to BAFTA GURU.
Thank you BAFTA GURU.

How we did the sound of Underdogs


In this first part of the talk we gave at the CAPER on October 25, 2013, we explained how and why we recorded the voices of "Underdogs" the way we did.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 1 of 9)

Voice Recordings

How we did the sound of Underdogs


In this part of the talk we gave at CAPER 2013 we reviewed the initial stages of the animation film “Underdogs”.
In addition, we discuss the sync from the recorded voices and animated mouths.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 2 of 9)

Draft

How we did the sound of Underdogs


In this part of the talk we gave at CAPER 2013 we explain why the films are post produced in Reels (divisions of up to 20 minutes). The joints of adjacent Reels were problematic in Underdogs.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 3 of 9)

Reels

How we did the sound of Underdogs


This is the fourth part of the talk we gave at CAPER 2013.
The topic here was how we received images of the film and the implications of having very complex scenes from the point of view of the assembly of sound effects and atmospheres.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 4 of 9)

Final Images

How we did the sound of Underdogs


In this part of the lecture we gave at the 2013 CAPER we talk about some of the problems we had to solve while creating the soundtrack version for other countries.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 5 of 9)

Foreign Versions

How we did the sound of Underdogs


In this part of the talk we gave at CAPER 2013 we discuss about Foley work, the difficulties of making and synchronizing the footsteps of the characters having very poor pictures, and about techniques used to increase the apparent size of the voiceovers for the monkeys.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 6 of 9)

Foley & "Monkeys"

How we did the sound of Underdogs


In this part of the talk we gave at CAPER 2013, Pablo Borghi, arranger and orchestrator of music composed by Emilio Kauderer, speaks about the music of Underdogs.
He describes the process from the early sketches made with samplers and synthesisers up to the final recording in London with the London Symphony Orchestra in Air Studios.
Later on, Diego Gat shows how he made use of Elastic Time to improve music sync.
Unfortunately Pablo’s microphone had a problem during the talk so for a few minutes his intelligibility is not good. For that reason we have subtitled those phrases.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 7 of 9)

Music

How we did the sound of Underdogs


This is the final part of the talk we gave at CAPER 2013.
Here, we talk about the amount of tracks, weeks and manpower used during sound post production for Underdogs.
On top of that, we discuss about 7.1 format, wallas and we comment briefly on ambiences and sound effects recorded specially for the film.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 8 of 9)

Statistics

How we did the sound of Underdogs


In this last video of the lecture given at CAPER 2013, the attendees ask us some interesting questions.
The exposition lasted for 3 hours and a half. Setting up the talk, preparing the examples to show, gathering information, pictures, QuickTimes and audio for the different stages, etc was very demanding but we did our best.
We hope you liked it.
In the UK this film was named "Foosball".
In Argentina, "Metegol".
English subtitles done by Gabriel Sigillo.


 How we did the sound of Underdogs

How we did the sound of Underdogs

(Part 9 of 9)

Questions

Dialogue Editing for Motion Pictures


If you start to edit too soon, before you’ve organized your workspace, you will undoubtedly run into trouble later down the line. This video addresses some of the issues you will face as you plan your editing universe.
For much more on getting started see Chapters 7 and 10 of the book "Dialogue Editing for Motion Pictures - A Guide to the Invisible Art - 2nd Edition" by John Purcell - Focal Press.


 Dialogue Editing for Motion Pictures

Dialogue Editing for Motion Pictures

(Lesson 1 of 5)

Lesson 1: Organization

Dialogue Editing for Motion Pictures


Making a scene smooth and believable is the first step in editing, and room tone is your primary tool. However, there’s more than smoothness to finding the truth in a scene. One must consider story and characters in order to build a proper scene.
This is discussed in great detail in Chapter 11 of the book "Dialogue Editing for Motion Pictures - A Guide to the Invisible Art - 2nd Edition" by John Purcell - Focal Press.


 Dialogue Editing for Motion Pictures

Dialogue Editing for Motion Pictures

(Lesson 2 of 5)

Lesson 2: Basic Transitions

Dialogue Editing for Motion Pictures


When one clip of a transition contains a sound that changes in pitch or volume, you may not be able to find the matching room tone needed to smooth the cut. Sometimes, you can solve this problem by reversing the room tone. Be careful that the clip you’re reversing contains no transient sounds such as birds, voices, or car horns.
Learn more in Chapter 11 of the book "Dialogue Editing for Motion Pictures - A Guide to the Invisible Art - 2nd Edition" by John Purcell - Focal Press.


 Dialogue Editing for Motion Pictures

Dialogue Editing for Motion Pictures

(Lesson 3 of 5)

Lesson 3: Using Reverse Room Tone

Dialogue Editing for Motion Pictures


It’s not unusual for a picture editor to give you an edit in which the sound and picture come from different shots, or to include an image that contains the same voice from different sources. As the dialogue editor, you must learn to figure out what the director intends to accomplish, and then how to go about executing it.
More in Chapter 11 of the book "Dialogue Editing for Motion Pictures - A Guide to the Invisible Art - 2nd Edition" by John Purcell - Focal Press.


 Dialogue Editing for Motion Pictures

Dialogue Editing for Motion Pictures

(Lesson 4 of 5)

Lesson 4: Aligning Shots

Dialogue Editing for Motion Pictures


In movies it’s possible to hear both sides of a telephone conversation—the person we see on screen and the person on the phone. There are all sorts of narrative reasons to do this (or not to), and it's the dialogue editor who must build the scene so that all options are open during the mix.
This is discussed in much greater detail in Chapter 12 of the book "Dialogue Editing for Motion Pictures - A Guide to the Invisible Art - 2nd Edition" by John Purcell - Focal Press.


 Dialogue Editing for Motion Pictures

Dialogue Editing for Motion Pictures

(Lesson 5 of 5)

Lesson 5: The Telephone Split

Dialogue Editing for Motion Pictures


John Purcell speaks about organizing our available efforts and time for film sound post production.
This is part of a lecture he gives in Edinburgh Napier University.


 Dialogue Editing for Motion Pictures

Dialogue Editing for Motion Pictures

Time Management

Dialogue Editing for Motion Pictures


John Purcell makes an introduction to Noise Reduction in dialogue tracks.
This is part of a lecture he gave in Edinburgh Napier University.


 Dialogue Editing for Motion Pictures

Dialogue Editing for Motion Pictures

Noise Reduction

Foley of Perfume – Story of a Murderer


 Foley of Perfume – Story of a Murderer

Foley of Perfume – Story of a Murderer

Loudness Normalization


 Loudness Normalization

Loudness Normalization

(Part 1 of 6)

Loudness Normalization


 Loudness Normalization

Loudness Normalization

(Part 2 of 6)

Loudness Normalization


 Loudness Normalization

Loudness Normalization

(Part 3 of 6)

Loudness Normalization


 Loudness Normalization

Loudness Normalization

(Part 4 of 6)

Loudness Normalization


 Loudness Normalization

Loudness Normalization

(Part 5 of 6)

Loudness Normalization


 Loudness Normalization

Loudness Normalization

(Part 6 of 6)

Dialogue Editing


Dialogue Editing for Motion Pictures is a series of video lessons that aims to educate viewers about the process of dramatic film dialogue editing and to teach the basics of the craft. The series is presented by John Purcell, Emmy Award recipient and author of Dialogue Editing for Motion Pictures: A Guide to the Invisible Art (Focal Press, 2007).

The first six lessons provide a detailed overview of the dialogue editing process, as well as insight into getting materials from the picture editor, setting up your session for efficient editing, and managing wild sound. Later episodes will provide step-by-step instructions about solving many common dialogue editing problems.


 Dialogue Editing

Dialogue Editing

(Lesson 1 of 6)

This lesson provides an overview of the process of dialogue editing. You'll learn just what dialogue editors do and you'll discover the roles of the other sound editors who work on a movie.

Dialogue Editing


 Dialogue Editing

Dialogue Editing

(Lesson 2 of 6)

Lesson two explores how dialogue editing contributes to the success of a film's soundtrack. You'll see that dialogue editors work to create cleaner, quieter well-organized tracks in order to facilitate the mixing process and enrich the movie-going experience. And you'll learn that editors also help to create a sense of depth and perspective in the tracks, which increases drama and helps develop characters.

Dialogue Editing


 Dialogue Editing

Dialogue Editing

(Lesson 3 of 6)

This lesson shows some of the other tasks of the dialogue editor, including preparing and editing ADR, verifying sync, preparing for the mix and the international version.

Dialogue Editing


 Dialogue Editing

Dialogue Editing

(Lesson 4 of 6)

Before you can begin editing, you must get certain materials from the picture editor. Starting your job without these spells disaster. This lesson will tell you about these essential items.

Dialogue Editing


 Dialogue Editing

Dialogue Editing

(Lesson 5 of 6)

Once your materials arrive from the picture editor, you'll need to get everything in order. This lesson will show you what to do when these files and folders and papers arrive at your cutting room.

Dialogue Editing


 Dialogue Editing

Dialogue Editing

(Lesson 6 of 6)

This lesson covers the last remaining organizational chores that you must accomplish before you can edit comfortably. Once this is done, you're ready to begin dialogue editing.

"King Kong"


Charming short movies about the making of Peter Jackson's "King Kong". I'm astonished by the fact that neozelandese cinematographic industry, which belongs to a country with only ten percent the population of Argentina, has reached a development level this high.


 "King Kong"

"King Kong"

Post Production Diary
30 Week To Go

King Kong Sound Post Production.
Sound gathering stage.

"King Kong"


 "King Kong"

"King Kong"

Post Production Diary
23 Week To Go

King Kong Sound Post Production.
Sound design and editing.

"King Kong"


 "King Kong"

"King Kong"

Post Production Diary
18 Week To Go

King Kong Sound Post Production.
ADR (Automatic Dialogue Replacement).

"King Kong"


 "King Kong"

"King Kong"

Post Production Diary
15 Week To Go

King Kong Sound Post Production.
Foley.

"King Kong"


 "King Kong"

"King Kong"

Post Production Diary
7 Week To Go

King Kong Sound Post Production.
The Mix, part 1.

"King Kong"


 "King Kong"

"King Kong"

Post Production Diary
6 Week To Go

King Kong Sound Post Production.
The Mix, part 2.

"King Kong"


 "King Kong"

"King Kong"

Post Production Diary
5 Week To Go

King Kong Sound Post Production.
Music composing, part 1.

"King Kong"


 "King Kong"

"King Kong"

Post Production Diary
4 Week To Go

King Kong Sound Post Production.
Music composing, part 2.

Randy Thom


Very interesting radio interview to Randy Thom.


 Randy Thom

Randy Thom

(Part 1 of 4)

Radio Interview (Part 1 of 4).

Randy Thom


 Randy Thom

Randy Thom

(Part 2 of 4)

Radio Interview (Part 2 of 4).

Randy Thom


 Randy Thom

Randy Thom

(Part 3 of 4)

Radio Interview (Part 3 of 4).

Randy Thom


 Randy Thom

Randy Thom

(Part 4 of 4)

Radio Interview (Part 4 of 4).

Walter Murch


Our beloved and respected Walter Murch.


 Walter Murch

Walter Murch

Wordizing Walter Murch

The extraordinary Sound Designer and Film Editor Walter Murch, talks about the Echo and Reverb sound effects.

James Horner


The musician James Horner and the music of Aliens.


 James Horner

James Horner

The music of Aliens

James Horner describes how difficult it was the composing and recording procces of the music of Aliens.
In this movie James Horner tells us how he was treated while doing his job.

John Williams


John Williams had always been a model of amazing musical composition that enhances and serves to the cinematographic spectacle. I just knew he was bald and white-heared. I didn't knew how his voice sounded, if he was educated, if he was a hothead, etc.
I've found these movies that helped me figure him out.


 John Williams

John Williams

The music of "E.T.: The Extra-Terrestrial"

The extraordinary musician John Williams talks about the experience of composing the music for the soundtrack of "E.T.: The Extra-Terrestrial".

John Williams


 John Williams

John Williams

The music of "Star Wars"

The classic saga of "Star Wars" seen from the musical point of view.
John Williams talks about the composition of the soundtrack.

John Williams


 John Williams

John Williams

The music of "Memoirs of a Geisha"

John Williams describes how special it was for him to compose the music for the soundtrack of "Memoirs of a Geisha".

"The Incredibles"


"The Incredibles" and its soundtrack.


 "The Incredibles"

"The Incredibles"

Interesting stylistic observations about the composition, orchestration and musical arrangements for a film that is mounted on roads developed by the films of the genre of Super Agents.

Javier Navarrete


The musician Javier Navarrete and the music of "Pan's Labyrinth"


 Javier Navarrete

Javier Navarrete

Javier Navarrete invite us to know the mythical studio Barrandov of Prague, where the music for "Pan's Labyrinth" was recorded.
(in Spanish).