Image Processing Reference
In-Depth Information
“Mr. Gasek, the sound that you create for your film should have as much weight
as the picture itself. Sound must be half of the film and no less.” I never gave
this much thought until Martin brought this to my attention. As I started to
analyze the films that I followed, I realized that this statement rang true. I am
a very visual person, like many filmmakers, and since I am creating visuals for
my film, the sound would often fall into the shadow of the pictures. One day I
decided to give a live musical performance for one of the film exercises I was
screening for Martin's class. I brought in and played a guiro, which is a hollow,
ribbed cylinder of wood played by rubbing a stick across the ribs. This sound,
along with the rigging of the sailing ships that I filmed, made an unusual
combination that somehow worked and garnered high praise from Martin.
From that point on, I promised that my sound tracks would play prominent
roles in all of my films, and I have never regretted that commitment.
Ever since the early days of animation, music has played a key role. Some
animators follow music and sound effects to the frame, and others have let
Fig 9.1
Log sheet with sound wave and frame count.
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