A short film about a lifetime of field recording from Lawrence Barker.
Best heard with headphones to appreciate the full stereo field.
This film is a personal reflection of my own passion for audio field recording over the past 45 years.
“Audio field recordings act as a powerful trigger, transporting me back to the original place they were captured………they are more powerful than any image captured on camera and even surpass those caught on video – they are quite magical!”
photo courtesy of Chad DeRosa Photography
Guest Contribution by James Bretz
The documentary Out of Nothing is my first feature, and the first feature for our entire P-51 Pictures team. It’s more than just a story about motorcycles. It’s a human story. It follows four men who follow their passions and dreams, and it tells one of many stories that are a part of a larger community of individuals and teams involved in motorcycle land speed racing.
When looking over the footage that Director Chad DeRosa had shot over the course of two years, one word came to mind. Scope. It was Chad’s and Producer Andrew Lahmann’s goal that the film should look and feel large. We wanted Out of Nothing to be experienced as more of an action/drama narrative than an informative style of documentary
Photo courtesy of Seth Emmons
Guest Contribution by Lawrence Everson
The relationship that documentary cinema has with truth, realism and subjectivity has long been a lively debate. Likely since its origins as a medium (do a quick Google search about Nanook of the North‘s impact and also its staged shots, for example). Documentary sound design is an often overlooked aspect of the craft that inhabits a particularly interesting and sometimes invisible corner of the debate. In narrative films, sound design largely fabricates fictional environments, but in documentary cinema we as sound editors, designers, and mixers are often tasked with designing a reality for, well, reality, as it were. But whose reality? And what even IS documentary reality in the end? Where is that line drawn between immersive world-building that makes a film come alive, versus blatant misdirection and manipulation of the audience? Is it possible that the realities we build can ultimately be more real than the reality of the moment a scene was shot? (And is recording documentary sound on a commonly mono shotgun mic plus lav even a particularly accurate way of capturing reality?) Is the emotion of a scene more true than the literal fact of a scene?
Guest Contribution by Frank Bry
Check out part 1 of The Making of Thunderstorm 3 SFX here.
In this second and final article I will discuss microphone patterns, recording device pre amp settings, editing and the final mastering phase of this collection. Before I dive into all the technical mumbo jumbo I want to express that when I’m setting up and actually recording thunder and lightning I get quite excited. There must be something in the air, alien mind control beams or just the anticipation of getting the “ultimate” thunder clap or lightning strike. It’s very hard work and involves exercise, listening, tracking the storms and watching the skies. I feel like a kid in a candy shop and I feel the recording is the easy part. So, now we begin. Part 2: The Real Work Begins.
Guest Contribution by Frank Bry
In this article I will reveal my secrets and techniques to recording decent thunder and lightning. Many, many years and sleepless nights have gone into perfecting the art of recording the thunderstorm and I will finally share. But first, I want to share a little history and tell you how I developed these secrets and techniques. It was not so easy at first and here’s the story I’m still alive to tell. Part 1: Live and Learn.