| abstract
| - A transcript is a retrospective written record of dialogue, and like a script (a prospective record) may include other scene information such as props or actions. In the case of a transcript of a film or television episode, ideally it is a verbatim record. Because closed-captioning is usually written separately, its text may have errors and does not necessarily reflect the true Canonical transcript. Bryan Burk: Welcome to the official Lost video podcast [Opening Lost sequence] Kris White: Hey guys, welcome back to the official Lost video podcast, I'm your host Kris and today we're going back behing the scenes for one of the final steps in the post-production process, sound mixing. Sound can literally make or break a scene, so today we're here with executive producers Bryan Burk and his entire team to learn what exactly goes into the sound of Lost. [Clip of Kate and Juliet running in Left Behind] Bryan Burk: Well from the beginning we always knew that the sound and sound design would always be important to the show, particularly because you weren't going to be seeing things, but you'd be hearing them. For example, the monster, you didn't see any of it until Season Two. It was important that the sounds found for it, for the show, were all very singular and special for the show, and when you would hear it, you would immediatley associate yourself with Lost. Scott Weber: I'm Scott Weber and I make sound effects for Lost and it's my job to mix in the backgrounds and the sound effects. Tom DeGorter: Hi, I'm Tom DeGorter, I'm the supervising sound editor on Lost and basically my job is to supervise all aspects of the sound with the exception of music. Right now we have a scene with Charlie, the problem is in production, the baby's crying hysterically and the problem is we can't have that and it all has to be smooth. Things I'm looking out right now is we're replacing some of the crying Scott Weber: You can't use that track because, there are certain angles of the baby that are off-mike so they don't sound as good and it's covering up his dialogue, and we've got some ocean noise and stuff in there as well, so we have to replace it. Tom DeGorter: I'm using some of the production as my guide, this would be my replacement track of crying and I have to go in, and all these little regions here represent where the picture editor has made picture cuts, I have to now take this piece and basically smooth it out and make it work with the production audio. [Clip of Charlie and Aaron in One of Us] Bryan Burk: The best sounds that we know will be there for all twenty-two episodes or twenty-four episodes for many seasons, and how we can puzzle them out properly and really make them as memoriable as the characters themselves. Tom DeGorter: Most recently we had the sonic weapon pilons, we used some musical elements, we then took those musical elements, treated them, distorted them, really messed them up, and used that to make a very disturbing sound. [Clip of the Monster in Left Behind] Tom DeGorter: One of the elements was a tuba and it actually started out as tuba and we manipulated and changed it. When we were working on Season Two, at the beginning of the season we knew that there was going to be a computer and every one hundred and four minutes the countdown would begin. [Clip of Desmond and Locke in Live Together, Die Alone] Bryan Burk: We wanted to make this a very unique sound, there was a lot of discussion, but we came up with the idea of using a scanner at the market that would scan all your food. Ultimately we sat downwith the sound guys, who were spectacular in the middle of the night, to find markets that were abandoned and recorded that sound and until we found the perfect sound, we pitched it here, and put it in. Now if you watch the show, particularly the second season when the timer goes off with four minutes remaining, if you close your eyes, you might me transported into your local market. [Clip of Desmond and Locke in Live Together, Die Alone] Bryan Burk: You know I've always been fascinated by sound, I know it's often the forgotten art at the end of the process, working on a show like this, were those so many possibilities and you're working on a world where you want to make evrything as real as possible. So you feel like you're there, yet you can play with the unknown. It always gets us excited. The irony is that I cheated on my sound final in film school. Don't tell anyone. Scott Weber: We had a problem, when we were doing playbacks in here, because it gets so loud, and between were we sit here at the council and the back desk, we could be going through a loud scene, and they could yell at the top of their lungs and we wouldn't hear a thing.
|
![[RDF Data]](/fct/images/sw-rdf-blue.png)