You are the director of Victor/Victoria (Great Britain, 1982), and you want more emphatic applause for Julie Andrews's big number than the actual audience of extras was able to provide. Adding or Creating Something That Is Not Really There Finally, in many of those great Hollywood musicals, the best songs are not actually performed by Audrey Hepburn or Debbie Reynolds, but by unsung singers like Marnie Nixon, whose faces and figures don't look as appealing on-screen as those of the major stars.Ī Foley artist invents the sound effects that are dubbed onto the visuals.Ī Foley stage is the workshop in which the props used to make sound effects are used.ĪDR stands for Automated Dialogue Replacement, or a computerized method for looping, which is itself a method for redubbing dialogue. And gunshots never sound as satisfyingly long or loud in real life as they do in Dolby with the bass cranked way up. Though we know, for example, that because space is a vacuum sound cannot travel in it, we are still utterly compelled by the sounds of intergalactic battle or just spaceships traveling at warp speed in nearly every space opera produced since the creation of Buck Rogers in the 1930s. Sometimes the reality that sound creates is so compelling that even though it contradicts what we know to be scientifically true, we believe it anyway. The simulation of reality can be something as small but distinctive as the sound of a door opening and closing on the Starship Enterprise, to the extremely complex creation of a language for the Star Wars series' Ewoks. To add or create something off scene that is not really there.Kerner says in The Art of the Sound Effects Editor, "the function of sound effects is three-fold": Bring on Da Noise: Synchronous and Nonsynchronous SoundĪs sound editor Marvin M.
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