This is definitely not the combination people have in mind when they think of their favourite extraterrestrial from outer space, but it goes to show how being creative with seemingly maligned objects can often yield the best results.Īs much as many fans of the iconic Transformers films would like for the Autobots to be real, sadly much of this movie magic had to be made inside a small studio, including the sound of Bumblebee sitting down and moving around. She then returned to the store every few days and became known at the store for being the “lady who listens to the liver”, and always experimented with the way the liver sounded with something else - and eventually realised that liver being smushed with jelly and popcorn was the best sound, and it ended up becoming the sound used every time ET moved. Sound artist Joan Rowe explained that she “walked through some stores and listened to the movement of the packaged liver in a flat container” - which had a cheery sound. As stated in Empire, Steven Spielberg stipulated that the physical sound of his extraterrestrial be "liquidy and friendly”. Read this next: Les Dunes Electroninques is a 30-hour rave in the Star Wars desert locationĪ childhood favourite for many, this classic blockbuster will go down in history as a pioneering film that transcends generations. And therefore give the lightsaber a sense of movement.” “And what happens when you do that by recording with a moving microphone is you get a Doppler’s shift, you get a pitch shift in the sound and therefore you can produce a very authentic facsimile of a moving sound. As described by sound designer Ben Burtt: “Once we had established this tone of the lightsaber, of course, you had to get the sense of the lightsaber moving because characters would carry it around, they would whip it through the air, they would thrust and slash at each other in fights. This was used in Star Wars: The Empire Strikes Back to generate the original lightsaber sound. For this lightsaber sound, the sound engineers used a well-known technique to create a Doppler effect, where there is a change in frequency depending on one’s relation to an object or sound, by swinging a microphone back and forth from the source of the sound. This is an iconic noise, you know it, "vrrrrum".
So much of this work goes unnoticed, but when you listen closely, without these sounds the movies just wouldn’t be the same. We’ve compiled a list of some of the most interesting techniques used on movie sets to create the sounds of things that are often not real, or are too delicate to rely on simply a microphone picking up the actual sound. Foley and sound artists also re-record low-quality sounds from the first set recording, which becomes the majority of the noises heard in a movie. Footsteps are generated by the artist wearing a certain shoe and walking on a specific surface (e.g., wood floors, asphalt, grass etc). Swishing garments, broken glass, footfall, and creaking doors are all examples of noises that have to be created within a studio environment. Read this next: 12 killer film soundtracks We don’t use any library sounds or rerecorded noise, this is all authentic and we create it”. “Sounds of eating or walking - we physically make those sounds because it is our job to.
“Anything you can think of that maybe didn’t get recorded when they shot the original scene, we have to recreate”, say sound artists Chris Moriana and Alyson Moore, who have worked on The Hunger Games and Frozen, in an interview with Variety.
Objects have to be used, abused and contorted in specific ways - though of course many of these movie noises don’t exist in the real world - so how do they do it? To create sound effects you need a knack for the obscure and and the ability to think outside the box to emulate complex noises. To create the noises you know and love from your favourite movies, sound engineers and foley artists have to get creative.
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