While doing a bit of research for my report assignment on sound design, I stumbled upon how the sound design department is required to make choices either of artistic or scientific nature. This is often a dilemma in Sci-Fi films, where entire scenes are being supposingly shot in space. Space is Vacuum. Empty. No air, no nothing. Sound waves its impossible to travel without that mean. So,
NO SOUND IN SPACE!
Then, how come all those movies have laser blasts, explosions, spaceship noise audible on them? That’s because the artistic nature supersedes the scientific. It just sounds better and some times more realistic than reality itself!
The Sound of “Star Trek”
The “Star Trek” sound team including Supervising Sound Editor Mark Stoeckinger, Supervising Sound Editor Alan Rankin, Sound Designer Scott Gershin, Sound Designer Ann Scibelli, and Sound Designer Tim Walston talk about the approach and sound design behind the eleventh film based on the Star Trek franchise directed by J.J. Abrams.
How the sound masters of “Gravity” broke the rules to make noise in a vacuum
Sound designer Glenn Freemantle and re-recording mixer Skip Lievsay reveal the film’s sonic secrets. A film in which the audience would hear sound effects the same way the characters did. In space there’s no air to transmit vibrations, so that means total silence — unless you’re touching something and your body itself serves as the conduit.
Glenn Freemantle: It was at that point that we decided to do the sound design from the perspective of touch through vibration, and contact, in the whole film. Right from the beginning. We did that type of thing that you see right on that first little temp mix. Obviously we went and elaborated, and we shot loads and loads of stuff and you know, tried to refine the whole thing, but that was the beginning of the concept.