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How to use sound effects

Sound plays as big a role as the visual elements of a film. It's a tool to immerse the audience in a cinematic experience, or bring a fantastical creature to life, or ramp up the tension in a scene.

Think about the audio brilliance of Ben Burtt's work on or the subtle art of sound effects in great horror films like the Alien franchise. Modern movies are using sound in new and exciting ways that push the envelope on how films tell their stories.

And while location, editing, and special effects can capture your vision, it's the sound design that really brings it all to life. In this video, we examine how Tarantino uses sound to help guide the tone of his violence.

To understand how valuable sound effects can be, it helps to understand all the ways you can use them. Effects (and sound design in general) can impact an audience's emotions just as powerful as an actor's performance, a beautiful vista shot, or a dramatic scene.

Here is a step-by-step guide to sound effect techniques you'll be able to bring into your next project.

Elements of Sound in Film

Step 1: Create ambient sound

Ambient sound is the most common way filmmakers use sound effects. Think about movies like Master and Commander, , or The Lord of the Rings. These stories take place in settings that we can't experience, and yet it's the filmmaker's job to make those settings and characters feel as real as anything else.

Listen for the ambient sound effects

Ambient sound does a lot of the heavy lifting in this scene. Viewers would expect the sounds of ocean spray and constant waves, but it's the little pieces - boots on wood, rigging in the wind, distant conversation - that really sell the idea of a large crew on a ship at sea.

Importance of Sound in Movies

Step 2: Establish some realism

By adding appropriate sound effects (or, in some cases, creating new ones with Foley artists), you can establish realism right off the bat. This how filmmakers use diegetic sound to transport us to new worlds.

One of the best examples of this is Avatar. The movie takes place on a fictional planet, stars fictional creatures, and ultimately exists as a masterclass in green screen work. But the constant touches of ambient sound help viewers overlook all of that and immerse themselves instead.

Using sound effect techniques to create worlds

The human brain cross-references things we experience. And by adding familiar sound effects to a scene, you are providing context that supports what is on screen. The viewer's brain connects what it sees with what it hears, which allows the audience to immerse themselves in a particular scene or location.

Functions of Film Sound

Step 3: Use nonverbal storytelling

All living creatures use nonverbal communication. In the case of humans, our brains process more than just physical gestures. We can also hear a sound or see an image and understand a variety of meanings or suggestions.

Ridley Scott's is a great example of how sound effects can tell the story of a scene far more acutely than a few lines of dialogue:

Film Sound Effects Tell Us Everything

That one scene could stand on its own as a short film, and it would still be a success. Nonverbal storytelling is a trick that is uniquely available to filmmakers. You probably already incorporate this, because a film's visual elements should tell part of the story (otherwise, you're probably using too much dialogue).

The Use of Sound in Film

Step 4: Add sound effects for tension

Sound effects can tell the story of a location or character. And you can do that within a scene that is already pushing other plot points forward. Master storytellers know how to weave these things together because that is how they capture a viewer's attention from start to finish.

Distant voices and car sounds can create the illusion of a busy street, even if there's no one around. A heartbeat or rush of wind can add tension and dread to a scene where a character has to make an important decision.

These might be a little on-the-nose, but you get the idea. Horror films excel at layering sound effects to build a mood or feeling, and even an addition like the cat in that scene from Alien shows how the smallest sounds can play important roles in film.

Sound Effect Techniques

Step 5: Shift audience emotions

Filmmakers understand how music can steer an audience's emotions. There is a lot of research on how music affects the human brain, and that is going to continue for the foreseeable future.

But the same facts also apply to sound effects, even if it isn't as obvious.

Ambient sound effects help us make sense of what's on screen, and nonverbal storytelling clues us in on the context. But the one thing those things have in common is they affect how viewers feel.

The visuals of a passing storm may be dark and gloomy, but filmmakers can use sound effects to manipulate how viewers perceive the storm. Distant thunder is foreboding; falling rain is calming; faint birdsong suggests that the storm is passing and sunlight is coming soon.

This scene's dialogue sets a playfully competitive tone. And even though audiences know what to expect, there is a sense of excitement about everything. But as the storm approaches - and the sound design becomes more chaotic and louder - the audience's emotions become as tense and on edge as if they were watching a horror scene.

The sound effects create the threat of the tornado

This particular use of sound effects allows you to practice your art, to become one of the great auteur directors and choose how people will react to things. Sound effects give the filmmaker more control of a viewer's experience, and that's just one more reason why sound design has evolved to become such an important piece in filmmaking.

How To Get Sound Effects

Step 6: Find sound effects

At its core, filmmaking is almost like magic. It's the art of convincing people to accept something that isn't real, to have an emotional response and carry a piece of the film home with them.

Hopefully by this point, you've gotten an idea of how sound effects can help you achieve your filmmaking goals. And hopefully you also realized that using sound design relies more on your vision for the film than any experience as a mix engineer or Foley artist.

But a common struggle is finding sound effects that don't suck. Freesound is an amazing (and popular) resource...but actually sorting through thousands of effects can be a huge pain. And that can be true for the vast majority of free sound effects libraries, like Free Sounds Library or SoundBible.com.

Movie Sound * SoundBible

Sure, they are cheap and convenient. But in some ways you'd save more time by creating your own sound effects rather than tracking down something that fits just right. That's why many filmmakers end up buying, licensing, or subscribing to professionally curated libraries.

If you're looking for higher quality or very specific sounds, you might have access to sound effects through a service you already use, like Avid Pro Tools or Adobe Audition. Maybe you need a subscription service that provides thousands of professionally made sounds.

Movie Sound * SoundBible

The point is, there are hundreds of options out there. Thankfully most of them are available to browse for free, so you can explore your options before committing to one platform or another.

And that's the trend, really. Filmmakers have access to more - and better - resources than ever before. When it comes to finding a place to download sound effects, you are already spoiled for choice. Now is the perfect time to start experimenting with how sound effects can add more depth, emotion, and realism to your videos.

This post courtesy of Drew Gula and Soundstripe, a company that makes royalty free classical music and sound effects that help content creators produce better videos.

UP NEXT

How Tarantino uses sound design

When people think of Quentin Tarantino movies, the sound design isn't typically first on the list. But that's a mistake - not only is Tarantino's use of film sound effects unparalleled, he makes it seem so effortless. And sound is the key element when it comes to understanding the range of violence and whether we are meant to have fun with it or not. Let's look at how Tarantino uses sound effects to present film violence.

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In cinema, what we hear is just as important as what we see. With these sound effect techniques, you can elevate your next project to pro-status.

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Shepard Scale

First, let's define the Shepard Tone

Now, if you're a film buff, chances are you've heard the Shepard Tone a time or two, but not as much as you might think, and you probably didn't notice it when it happened. That's the beauty of it - the illusion works on an almost subconscious level.

You might've felt something, found yourself more engaged, but too often music and sound are overshadowed by visuals. But not today! We're going to see and hear examples on how to create an unforgettable moments using the Shepard Scale but let's start with a quick definition.

Shepard Tone DEFINITION

What is the Shepard Tone?

The Shepard Tone is an audio illusion that creates the feeling of consistent, never-ending rising/falling. The illusion is achieved by playing overlapping notes that are one octave apart. For this reason, it forms a Shepard Scale, each scale fading in and fading out so that the beginning or end of any given scale is indistinguishable. In this way, the sensation of rising or descending notes never ends.

Traits of the Shepard Tone Illusion:

Creates the illusion of continuous rising or falling notes or frequencies

Achieved by simultaneously playing scales separated by one octave

Scales are played at different volumes

Interestingly enough, the Shepard Tone (or Shepard Scale) is actually named after a cognitive scientist named Roger Shepard. Shepard created a visual illusion called the Shepard Table as well.

Aside from Shepard's Tone, the phenomenon is also sometimes called the "Musical Barber Pole" or "The Sonic Barber Pole" for the visual representation of a similarly endless illusion.

Shepard Tone Illision

In recent years, two names have started to become synonymous with the illusion: director Christopher Nolan and his long-time composer, Hans Zimmer.

The frequent collaborators adopted the concept and have creatively implemented it in everything from musical score, to sound design, even story structure. Let's look at how it's used in each of these arenas.

THE ILLUSION IN MUSIC

The Shepard Tone in music

Aside from Nolan, the concept had primarily been used in popular music by groups like The Police, Pink Floyd, or in electronic music to build up before a kick. Here's Franz Ferdinand with a track using the Shepard Scale, appropriately titled "Always Ascending."

Franz Ferdinand * Always Ascending Shepard Tone

One of the more known examples of a Shepard Tone sample came way back in 1996 with the release of Super Mario 64. Not exactly subtle, and not quite how Nolan uses it, but you get the idea.

Super Mario 64 Shepard Tone

Despite the same illusion, it uses noticeable different sounds. The effect here is almost eerie, instead of rapidly chasing something, you're stuck in a loop, in a futile effort.

These are both examples of ascending Shepard Tones. The rising version is more common than the falling Shepard's Tone, but both certainly have their uses.

Here's an example of a falling Shepard Tone, which sounds quite surreal.

Shepard Tone Descending

Feels like something David Lynch might use. When you hear the Shepard Tone descending, it's easy to imagine how it might be used to create symbolism in a visual medium like film - a character falling through endless space.

Music is an obvious medium with which to yield Shepard's Tone but the applications don't end there. Let's switch gears and talk about how this audio illusion can also be used in sound design - most notably Nolan's Dark Knight trilogy.

SHEPARD Scale SAMPLE: SOUNDS EFFECTS

The Shepard Tone in sound design

Aside from dubstep, the idea of consistently rising action certainly lends itself well to filmmaking, especially action films.

In one of the best Christopher Nolan movies, The Dark Knight (2008), Batman's motorcycle, aka the Batpod, is a prime example of how this illusion can be applied to more than music. Listen to the Batpod sound effect and you'll hear a very familiar and endlessly rising tone:

Batpod Sound Effect * Rising Shepard Tone

Production designer Nathan Crowley makes it a point to call the Batpod "not a motorcycle, but a machine." A machine that seemingly keeps accelerating, raising the urgency and importance of every moment we hear that Batpod sound effect.

Shepard Scale Sample: Film Score

The Shepard Tone in a film score

But again, perhaps no one has used the illusion quite the way Christopher Nolan has. We mentioned the Batpod sound effect, but the first time Nolan implemented the Shepard tone was actually in the original musical score for The Prestige(2006).

One of the best scores of all time, composed by David Julyan, is peppered with an ascending Shepard Tone. You can hear the rising Shepard tone throughout the following track, but most notably in the last 10 seconds or so.

The Prestige Score * Rising Shepard Tone

The Prestige main theme is about magic tricks, about mystery and suspense. It is only fitting then that the music mirrors those effects. In those last 10 seconds, the scales rise, the suspenseful music builds until - it stops, the rug is pulled out from under us, like a magic trick.

Hans Zimmer Shepard Tone

The Shepard Tone in Dunkirk

Still, Nolan and his partner-in-crime, Zimmer, saved the real magic for one of the best WWII movies, (2017), a film that embraced the Shepard Tone as no other has. Here's an excellent breakdown of how this was achieved:

Shepard Tone Illusion in Dunkirk

The most immediate and recognizable application of this audio illusion is on the soundtrack but Nolan didn't stop there. He actually modeled Dunkirk's story structure on the same endlessly rising trajectory.

Nolan: "I wrote the script according to that principle. I interwove the three timelines in such a way that there's a continual feeling of intensity. Increasing intensity.... We built the music as we built the picture cut. So there's a fusion of music and sound and picture that we've never been able to achieve before."

Watch this clip and you'll know what he's talking about, just make sure you pay attention to the Dunkirk score in the background.

Dunkirk Score * Oil Blast Scene

All three storylines (Mole, Air, and Sea) come together in this scene after rising throughout the film. And you catch the rising Shepard Tone a couple of times:

1. Once for basically the first 2 minutes. This is more frantic, chaotic.

2. Second when underwater. Here the suspense is more isolated, it's individualized and personally desperate. And the ticking only adds to the effect.

I watched a lot of Dunkirk score videos trying to pick out the best Hans Zimmer Shepard Tone, but the entire Dunkirk music score is amazing. Here's another example:

Hans Zimmer Shepard Tone

It would've felt wrong if I didn't give Zimmer the chance to play us out. Remember that the Shepard Tone can be used in many facets of filmmaking - from the script to the soundtrack. You can bring these concepts into your own work with Nolan and Zimmer as your guides.

UP NEXT

How to use suspenseful music

Now that you're familiar with rising and falling Shepard Tones, what other ways can you build suspense with score? Before you decide what music to use in your next project, make sure you cover all your bases and become a master of suspense.

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How Filmmakers Like Nolan Use 'The Shepard Tone'

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Now, if you're a film buff, chances are you've heard the Shepard Tone a time or two, but not as much as you might think, and you probably didn't notice it when it happened. That's the beauty of it - the illusion works on an almost subconscious level.

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SUSPENSEFUL MUSIC

How does suspenseful music work?

Scary movies are all about maintaining the careful balance of tension and revulsion to build fear. Thus, horror movie soundtracks are all about balancing suspense music and horror music.

Tension is the slow build. It's the part of the movie where the heroine is reaching for the door and maybe, just maybe, the monster is on the other side. This is where you would deploy suspenseful music.

It makes us tense up in our chairs, waiting, waiting, waiting for the other shoe to drop. Because we can't stand the waiting any longer.

Revulsion, however, is the moment the shoe drops. It's the killer stabbing a knife into someone's chest. It's the revelation that the handsome and loving boyfriend...is actually a vampire.

If tension is suspenseful music, then revulsion is where horror music takes over.

The key to horror movies, and horror movie soundtracks, is balancing those two moments. Cue the revulsion in too soon, and the audience doesn't have enough time to build up their fear.

It's all flash, no substance.

Let the tension go on too long, however, and the audience, desperate to break the tension, will break it themselves. Usually by cracking a joke or disconnecting from the movie altogether.

Both are the kiss of death for you.

STRINGS MAKE FOR SUSPENSEFUL MUSIC

Instruments in suspense music

The two most commonly used instruments in suspense music are synthesizers and strings.

Synthesizer music is eerie and artificial. Notes can last far longer than any human could hold them. Perfect for suspense music.

However, they're also a historical side effect. Many of the great horror movie filmmakers of the 80's used synthesizers because they're cheap. Scary movies are traditionally made on a shoestring budget.

Strings, on the other hand, have been used to raise tension for much longer. You might recall a famous example in Psycho (1960).

String instruments can also hold notes for an unnaturally long time. Layering discordant strings on top of each other only increases this unsettling effect. It sounds wrong to the human ear in a way other instruments don't.

Like a predator, or something that shouldn't exist. Anything that activates the lizard brain is perfect for suspense music.

This effect works great for the moments where the monster is lurking behind a character. Seen by the audience, but not by the victim.

But you can also use it to build tension by layering those strings over innocent scenes. Take this moment from The Shining (1980).

Without the suspenseful music, the Overlook isn't so bad. Really.

Until Danny meets the terrifying twins, there's nothing going on here that's all that frightening. Just a little boy playing on his bike.

But don't tell the horror movie music that.

RAISE THE TEMPO, RAISE THE HEARTBEAT

How does tempo create suspense?

The human brain is easily fooled. If our heartbeats are raised for any reason, our brains assume we must be afraid.

So anything you can do with suspenseful music to raise your audience's heartbeat will make them more afraid.

One of the easiest ways to do this is to raise the tempo.

Tempo is defined as the speed at which a piece of music should be played. The higher the tempo, the faster the music.

This is especially true if your music is already very staccato - made up of short, individual notes. Knowing this, it makes sense that good suspense music can mimic a fast heartbeat.

Not immediately, mind you. This technique is about suspense music, not horror music. It's all about the slow build. It starts out slow, then builds and builds.

Think John Williams' famous from Jaws (1975). One of the greatest pieces of suspenseful music ever written.

You can probably hum it right now.

It starts slow. But then the beat gets faster, and faster, and faster. And your heart starts to pound along with it. Until you can't take the suspense any longer and...

CRESCENDOS TURN TENSION INTO REVULSION

What effect do crescendos have?

Revulsion is the payoff moment of horror and suspense movies. Where you break out all the expensive special effects and stunt performances.

Those moments need to be reflected in horror movie soundtracks. In music, a crescendo is where the volume hits its peak.

This is where you use your scariest music. You can still mimic a heartbeat. You can still use strings or synths. But this isn't suspense music, this is horror music.

Take everything you've been doing and turn it up to 11.

The build-up, the tension, is where you want the audience's muscles to get tense, almost ready to run from the monster that could kill them.

This part, the revulsion, is where you want the audience to jump. To scream. To let out all that energy.

In essence, it's where you want to actually scare them.

Without horror music in Ghostbusters (1984), how will we know who to call?

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How to Use Suspenseful Music: Mastering the Film Score

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Suspenseful music can make the most innocent scene a nightmare. Here's how you can use music to terrifying your audience.

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How to Design a Digital Film Score like Trent Reznor and Atticus Ross

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Trent Reznor and Atticus Ross are known for their unconventional compositions. Here are a few ways you can create a film score just like them.

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What is a sound bridge in film

Sound bridge definition

A sound bridge, also called an audio bridge, is among many editing transitions that utilize sound to tell a story. Before we dive into the different types of audio transitions that filmmakers use, let's take a look at the sound bridge definition to get a general understanding of the technique.

SOUND BRIDGE DEFINITION

What is a sound bridge in film?

A sound bridge is an editing technique used to transition from one scene to another through sound. Sound bridges, also called an audio bridges, allow filmmakers to transition in or out of a scene by "bridging the gap" with audio. Sound bridges connect two scenes allowing audio from a succeeding scene to play over the preceding scene before the next shot is shown. The technique used to achieve this is known as a J-cut. When the sound of a scene carries over into the next scene, that's an L-cut.

What is a sound bridge in film used for?

Create intrigue or drama

Decrease abruptness of a cut

Connect two scenes via sound

What is a sound bridge in film

Types of sound bridges

There are various types of audio bridges depending on what sound is being used to carry over from shot to shot. Check out this video by Film Editing Pro that analyzes the different types of sound bridges and why they are used.

How to Transition Between Scenes with Audio Editing

1. Dialogue sound bridge

A dialogue sound bridge allows the dialogue from the next scene to play prior to a visual cut to the next scene. This is often used as a means to connect the lines of dialogue to the image of the preceding scene.

Dialogue sound bridges smooth out the transition from scene to scene. It can also be used to reflect a character's thoughts, as a means of foreshadowing, or to engage the audience's curiosity.

In this video, we break down a number of video editing transitions but there is also a section on two of the most common sound bridge techniques: the J-cut and the L-cut.

Wolf of Wall Street Sound Bridge

2. Sound effect sound bridge

The next type of sound bridge is the sound effect sound bridge. This type of sound bridge carries the sound design or sound effect from the succeeding scene over the first scene.

This can create both drama and intrigue depending on the sound effect that the audience hears. What is that sound? How does it connect to this scene? What is about to happen? You can see this in action in the opening scene transition of Saving Private Ryan.

Elements of sound in film * Saving Private Ryan

3. Music sound bridge

Lastly, there is the music sound bridge which, you guessed it, uses the film's score or soundtrack to transition from one shot or scene to the next. This is effective at creating anticipation in the audience. Quentin Tarantino uses this to perfection in the opening scene of Reservoir Dogs. Then again, the way Tarantino uses music so intuitively and effectively is no surprise.

Elements of sound in film * Reservoir Dogs

Music can elevate the pace of a film. Using it to transition between scenes is an effective way to immediately ramp up the pace and have the audience wondering what will happen.

What is a sound bridge in film

When to use a sound bridge

You might be wondering "What is a sound bridge in film used for?" The answer is that it depends on what you are trying to achieve. Audio bridges should be intentional. Using them on every scene transition can make them less effective.

1. Draw focus to a sound

Audio bridges are effective at directing the audience's focus on a specific sound. This is especially true for dialogue sound bridges. If there is a piece of opening dialogue from a succeeding scene that connects to the prior scene, an audio bridge can bring attention to this important line. SPOILERS AHEAD!

In the movie , a key piece of information is the fact that the housekeeper is allergic to peaches. To underscore this vital piece of information, a sound bridge is used to transition between two scenes and utilize the dialogue as a voice over.

Elements of sound in film * Parasite

2. Create curiosity

Using a sound bridge for a specific sound effect can also entice curiosity in the audience about the following scene. What is that sound? What are we about to see? A great example of this can be found in . Listen for the sound of the alarm clock as it grows louder and louder prior to the cut.

The Matrix * Functions of film sound

3. Smooth out jarring cuts

Lastly, sound bridges are an effective and simple way to create smooth cuts. Cuts can often be jarring especially when there are a lot of sounds involved like crowd noises or ambient sound.

Using a sound bridge can smoothen these rough transitions out.

Remember, these are only a few reasons to use sound bridges. Filmmakers have found endless ways to use sound bridges to tell their stories. In There Will Be Blood, one of Paul Thomas Anderson's best films, a sound bridge is used to smooth out the jarring jump in time between a dissolve.

There Will Be Blood * Sound bridge example in film

If you are still wondering when you should use a sound bridge, ask yourself a couple of these questions. Is the cut between scenes abrupt and distracting? Is there a connection between the two scenes that the audience should be aware of? Can you generate curiosity about the next scene through its dialogue or sound effects?

If you answered yes to any of these, try out an audio bridge. Sometimes you don't know how effective a sound bridge is or when it is needed until you put one into your edit.

UP NEXT

An overview of sound design in film

Sound effects are one of the most common types of audio editor used for audio bridges. They are also one of the aspects of post-production that can really make or break a film. Learn all about sound design, the role of the sound designer, and its impact on a film in our next article.

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How a Sound Bridge Works - Scene Transitions Explained

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A sound bridge in film also is an editing technique used to transition from one scene to another through sound.

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Sound editing vs sound mixing

What you hear on a movie's soundtrack is multilayered. Dialogue, ADR, sound effects, Foley, music - it's all part of the overall sound design. Putting it all together is a massive job and it's handled by multiple teams with different taks. So, that brings us to the question of the hour: what is the difference between sound editing vs sound mixing?

Catch a few scenes from iconic movies that delineate between editing and mixing, below.

Unlock the Secrets to Sound Editing and Mixing

When you're on set, capturing quality sound is critical. But the majority of the sounds you hear in the movies are rarely ever captured this way. Often, the main focus on set, is the blocking and staging of the actors, and perfecting the execution of their lines.

Many of the sounds are added in later. The collection and creation of these sounds is sound editing. We'll get more into the ways artists collect these sounds soon. Once these sounds are added in, then sound mixing can begin. The main goal in mixing is to make sure that all of the sounds, including recorded dialogue, are as seamless as possible.

Let's dive a little deeper into both sound editing and mixing.

Creating Sound

What is sound editing?

Sound editing is the creation, recording, or re-recording of sounds.

Walter Murch, is an Oscar-winning sound editor, iconic video editor, and sound mixer. Not only does Murch have quite fascinating theories about video editing, like his Rule of Six, but he's equally as poetic about sound.

Here he is talking through some of the choices he made while sound editing classics like The Godfatherand Apocalypse Now. He speaks of sound editing as putting together a kind of mosaic and how the most unexpected sounds can be used to further the storytelling.

Walter Murch on Sound Editing

Now, how do we collect the sounds we need?

Foley

For sounds like footsteps, the breaking of glass, slamming or squeaking doors, or even sounds that don't exist in the real world (think lightsabers), someone needs to record it. This is called Foley sound.

Foley is the recreation or creation of sounds unavailable to execute on set. Foley studios have viewing screens, props, and recording equipment for the Foley artist to capture the sounds as they watch each scene.

Here's an example of how they work on a film like A Quiet Place where sound editing is paramount.

Sound Effects in A Quiet Place

It's commonplace to see Foley artists recreate footsteps, or other sound effects that demand studio recording. But those aren't the only elements we need to hear in the film.

ADR

Many times, the dialogue on set must be re-recorded. There could be a slew of reasons for this. The sound wasn't captured correctly or precisely enough and must be re-recorded for quality, or voice overs might need to be added in.

Sometimes, actors like to re-record their dialogue because it's an artistic choice. This re-recording of dialogue is called ADR, which stands for Automated Dialogue Replacement. It is the process of re-recording audio in a more controlled setting, by the original actor after filming. You can see Hugh Jackman doing ADR for his role in .

Hugh Jackman's ADR in Logan

Now it's time to meld this dialogue with all of the other sounds that have been created or re-recorded. With all of the audio created, collected and re-recorded, it's time to enter sound mixing.

Sound Mixing Definition

What is sound mixing?

We all know when something sounds "off" in a movie. It can throw off the entire scene, and may even make us question the quality of the film itself. That's why sound mixing is so important.

Sound mixing is the process of matching audio levels of all of the sound in a film ⏤ from dialogue, to Foley, to the musical score. A sound mixer must tweak every single audio file in the movie in order to make it sound clear, crisp, and seamless. This isn't easy, even for professionals. It can be an arduous and tedious process, not to mention extraordinarily difficult when there are a ton of sounds happening at once.

Let's revisit Walter Murch as he speaks on the mixing process for Apocalypse Now, and some of the issues the sound design team faced.

Sound Mixing in Apocalypse Now

Matching the levels isn't only for quality either, there are also plenty of artistic choices that take place in the sound mixing process.

What's most interesting to me is the use of sound to engage the audience. And I'm not talking about obvious sound choices, like explosions, or like we saw above, bones breaking (yikes). Some sounds are designed to create a more visceral experience.

In the video above, Murch discusses the motivation in regards to a scene in . We hear sand hit Anthony's face while everything else goes quiet. Because we hear it, it's as if we can feel it. Sound connects the audience to the main character.

This is a huge piece in storytelling, and interestingly enough, it's a piece that comes much later in Post-Production during the mix.

Up Next

Oscar Winners in Sound Mixing

Now that you know the difference between sound editing and mixing, let's look at the best of the best. And of course, the best aren't always the winners. The next post will look at those who took home the statue, and those that maybe should've for Best Sound Mixing.

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Sound Editing vs. Mixing - What's the Difference?

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What you hear on a movie's soundtrack is multilayered. Dialogue, ADR, sound effects, Foley, music - it's all part of the overall sound design. Putting it all together is a massive job and it's handled by multiple teams with different taks.

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Now that we've covered our diegetic definition and explained what diegetic sound is, let's look at some examples, from the obvious to the not so obvious.

Speaking of Diegetic Sound

Diegetic dialogue

Dialogue is really the most simple example of diegetic sound. It occurs between characters as a form of verbal communication within the world of a film. Even internal monologue can be considered diegetic.

Sunset Boulevard (1950)

In Sunset Boulevard, the dialogue does a great job of telling the story of the characters and the world. In this scene, Joe (William Holden) is looking for help in repairing his broken down car. But Norma (Gloria Swanson) believes he's come to bury her pet monkey.

Dialogue in Sunset Boulevard

Through dialogue, we're shown personalities and how characters interact with one another. The dialogue that ensues informs key aspects of character for the audience.

Steve Jobs (2015)

With a script by Aaron Sorkin, there is plenty of diegetic dialogue to go around. In , characters are in constant verbal communication.

Dialogue in Steve Jobs

This is another great example of diegetic dialogue. There are pieces of dialogue within the scene that continue off-screen. The camera cuts away while Woz and Jobs continue their contentious conversation. Take note that this is still diegetic even though some of it occurs off-screen.

The Sound of Music

Diegetic music in film

Music is an interesting element because it can function across the diegetic line into non-diegetic sound. Diegetic music is what the characters can hear, which means any sort of musical score doesn't count. Music on a record player or being performed by musicians on-screen fall into this category.

Quentin Tarantino

Throughout his career, Tarantino has mastered diegetic music. Some of his most iconic scenes are driven by it and this video breaks down how he did it. It's more than just playing music in a scene, the right song paired with the right visuals will create indelible cinematic moments.

From the twist contest in Pulp Fiction to the unsettling harmonies of the Manson girls in Once Upon a Time...in Hollywood, Tarantino's music is a massive part of his diegetic sound.

Casablanca (1942)

In this scene from Casablanca, Ilsa (Ingrid Bergman) asks Sam (Dooley Wilson) to play the song "As Time Goes By." This is an example of diegetic music because it is played within the world of the film.

What is source music? * "Play it Sam" Casablanca

This scene is also a great example of how to use diegetic music. The song is significant for two reasons; the first is that it implies a connection between Ilsa and Rick (Humphrey Bogart). The only reason Rick comes to Ilsa is because the song is playing and he scolds Sam for playing it because of its obvious emotional meaning. The second is in the lyrics, as they provide a subtext about their relationship.

Phoenix (2015)

Here, the music is also diegetic and significant. In fact, the song Speak Low which the character Nelly (Nina Hoss) sings, serves as the climax of the film. The whole plot of the movie revolves around Nelly's masked identity after being disfigured in a concentration camp.

Nina Hoss sings Speak Low in Phoenix

When she finds her husband Johnny, he doesn't recognize her. Nelly then suspects that Johnny had something to do with her capture. So, she poses as another woman, hoping to find out the truth behind her husband's actions.

The only way Johnny can identify Nelly is by her singing voice, which remains intact despite all the physical changes. After learning the truth, Nelly reveals her true identity with the song above.

Rounding Out The Diegesis

Diegetic sound effects

Finally, rounding out the soundtrack of diegetic sound are sound effects. Birds chirping, a car horn blaring, a telephone ringing - everything the characters can hear is diegetic.

Tarantino

Once again, if we look at Quentin Tarantino's sound design, he can be extremely playful with his diegetic sound. Specifically, pay attention to how he soundtracks violent scenes. Here's a breakdown of how he uses sound design, specifically diegetic sound, to control tone.

Whether its gun shots, whips, explosions, or that insane bladed mace that Gogo Yubari swings around, he never lets sound become "standard." Listening to a Tarantino movie can be just as invigorating as watching it.

This scene is an excellent demonstration of diegetic sound effects. The sound of the plane hums as it soars overhead. Then, the sound becomes louder and fuller as the plane zooms at Roger (Cary Grant).

Diegetic sound effects in North by Northwest

Here, Director Alfred Hitchcock uses diegetic sound to build tension. There is very little music overlay. Instead, the drama is built with sounds from the world of the film - the plane, the vehicles, then an explosion.

Mad Max: Fury Road (2015)

Mad Max: Fury Road is chock-full of diegetic sound effects. In every car scene, we're flooded with engines roaring and metal clanking.

Diegetic sound effects in Mad Max: Fury Road

Like most things in the world of Mad Max, diegetic sounds are taken to the extreme. But the way the film uses these sounds really speaks to the immersive impact they can have.

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Non-diegetic sound explained

We've talked about the qualities that make a diegetic sound, but what about non-diegetic sounds? In this article, we define what a non-diegetic sound is, then look at examples from films that show how they are used by filmmakers to complete a layered and meaningful soundtrack.

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Diegetic Sound - Storytelling For Your Ears

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Now that we've covered our diegetic definition and explained what diegetic sound is, let's look at some examples, from the obvious to the not so obvious. Dialogue is really the most simple example of diegetic sound. It occurs between characters as a form of verbal communication within the world of a film.

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If we imagine a film as an assembly of many pieces made to look whole, diegetic sound and non-diegetic sound work together to add the final layer to that illusion. Without that "glue," we would see the cracks and seams holding it all together. So now that we know what non-diegetic sound is, let's dive into specific examples.

Original Scores

Non-diegetic music

Of all non-diegetic sound, music takes the largest slice of the pie. A musical score is perhaps the biggest "gamble" for an audience because it's a major element that does NOT belong to the diegesis, aka the world of the film.

Thankfully, after decades of using non-diegetic music in movies, the audience doesn't think about it to much. Let's look at some examples that use non-diegetic music for maximum effect.

Star Wars (1977)

The opening crawl for films are great examples of non-diegetic music and text. The John Williams score is an accompaniment, something exclusively for the audience to hear, not the characters.

Non-Diegetic Sound * Star Wars Opening Crawl

The text is also non-diegetic because it is a screen overlay. If the text were displayed on a screen within the film-world, it would be diegetic.

Catch Me If You Can (2002)

Non-diegetic music doesn't have to be orchestral or produced specifically for a film. Popular music is often used on the soundtrack to function the same way a non-diegetic score would be. In this scene from Catch Me If You Can, we hear Frank Sinatra's Come Fly With Me.

Non-Diegetic Music in Catch Me If You Can

This is an example of non-diegetic sound because it's not playing from within the film-world. If it was revealed to have been playing in the airport terminal or from a car radio, it would be diegetic. Such is the case with our next example.

Blazing Saddles (1974)

Sometimes, what we first perceive to be non-diegetic music turns out to be diegetic. Usually, this involves a song playing on the soundtrack (non-diegetic) but then a character turns off the radio and the song ends (diegetic). Mel Brooks visualized this transition for comedic effect in Blazing Saddlesin a very "Brooks-ian" way.

Non-Diegetic Music in Blazing Saddles

Music is the most often used element in non-diegetic sound but it's not the only game in town. In the next section, we'll look at how narration is used as part of a non-diegetic soundtrack.

Two Great Examples

Non-diegetic narration

The second-most common type of non-diegetic sound is narration. This type of narration is limited to literal narration, not any and every voiceover. For example, Forrest Gump narrates most of the movie but he's actually telling his story to other characters (i.e., diegetic).

Another form of voiceover commonly mistaken as non-diegetic is internal monologue (e.g., when we hear a character's thoughts). Since we are lead to believe that the character is also hearing those thoughts, it is still diegetic sound.

Non-diegetic narration is purely for the audience's benefit. No other characters can hear it and it is not simply a character's thoughts.

Fight Club (1999)

In , Edward Norton's character gives us a ton of non-diegetic narration. Whether or not that narration is accurate is the topic for another article. Take a listen.

Narration in Fight Club

Norton's character talks us through the fight club that he and Tyler have started, filling in the gaps of what we see on-screen. If you've seen the film, you know how important Norton's voiceover and point-of-view are to the story, making this use of non-diegetic narration essential.

American Psycho (2000)

American Psycho is a film that aims to connect the audience with the protagonist Patrick Bateman. One way the film does this is by allowing Bateman (Christian Bale) to speak directly to the audience.

Narration in American Psycho

This is done through character narration. Since the viewer is obviously an inactive participant of the film-world, this narration is non-diegetic. This works extremely well in this film as it gives us an inside look inside the mind of a psychopath.

Goodfellas (1990)

Just like the difference between diegetic and non-diegetic music, narration can transition back and forth between the two categories. Martin Scorsese does this all the time in films like The Wolf of Wall Street but there's probably no better example than Goodfellas.

Henry Hill has been our primary narrator, spinning non-diegetic yarns for over 2 hours when this happens:

Diegetic vs Non-Diegetic Narration in Goodfellas

The moment Henry addresses the camera directly is an abrupt and shocking switch between non-diegetic and diegetic narration. It also happens to be a great example of breaking the 4th wall, shattering the illusion completely. Are we lead to believe that Henry's narration up to this point was all part of his testimony? If so, it's an extremely creative way for Scorsese to play with our expectations of non-diegetic sound.

Outside The World

Non-diegetic sound effects

Sound effects are almost always diegetic but in rare instances they can also be part of the non-diegetic sound design. These are often used for comic relief or in exaggerated ways that are clearly meant to be identified by the audience as non-diegetic.

Let's look at a couple of examples.

Shaun of the Dead (2004)

Using quick cuts and exaggerated sound effects (particularly in montages) is something of an Edgar Wright staple. Listen as Shaun reviews their various plans and how non-diegetic sound effects play a major role in how this mini-montage is constructed.

Non-Diegetic Sound Effects in Shaun's Escape Plan(s)

Wright uses a lot of "whooshes," especially alongside whip pans, in this clip. There's also that great rumble and clang as Shaun and Ed bring their weapons together once they've settled on a plan. Together all of the sounds become a textbook example of non-diegetic sound effects.

Kill Bill Vol. 1 (2003)

What is non-diegetic sound? Just ask Tarantino, who has a lot of fun mixing diegetic and non-diegetic sound effects into his films. Take this showdown between The Bride and Gogo. There are plenty of diegetic sound effects (e.g., the swoosh as Gogo swings her weapon) but there are also plenty of non-diegetic examples mixed in.

Non-diegetic sound effects

The synthesizer sting as The Bride backflips, or the sound of bowling pins as Gogo crashes through the table - these are great examples of how exaggerated sound effects can be non-diegetic.

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How filmmakers use diegetic sound

What is non-diegetic sound? We've answered that question and it leads us straight to understanding its opposite. Let's look at some examples of diegetic sound, including dialogue, music and sound effects from movies like Mad Max: Fury Road.

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Non-Diegetic Sound - Storytelling with the Soundtrack

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If we imagine a film as an assembly of many pieces made to look whole, diegetic sound and non-diegetic sound work together to add the final layer to that illusion. Without that "glue," we would see the cracks and seams holding it all together.

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Defining Voice Over

The Definition of Voice Over

When people ask themselves "What is voice over?", they often come up with examples instead of a voice over definition. That's why we have provided both a definition and examples for you to have a thorough understanding of the term. Before going right to the various examples, let's define voice over and some of its characteristics.

VOICE OVER DEFINITION

What is Voice Over?

Voice over is a production technique where a voice is recorded for off-screen use. While prominently used to reference movies and television, voice over can also be used for telephone services, along with other informational service.

The question of whether it's "voiceover" or "voice over" is that you will usually (and maybe even officially) see it as "voice over." So, just to be safe, always make sure there's a space between the two words.

Voice over is popularly shortened to "VO" and we will be using this shortened two-letter version of voice over in the article for brevity.

What are the characteristics of voice over?

Narration in a movie or show, often used throughout the runtime.

An off-screen voice that informs the audience of important facts or opinions in fiction and non-fiction productions.

Informative and directive voice in commercials or over the phone.

A scripted statement of copy that is read in a specific way.

Voice Over Beginnings

Early Voice Over

Voice over work began around the time of the radio, which means over 100 years ago. Back then, it VO was mainly used for reports, such as how the weather was going to be. But this also lets us know that the radio, which dominated home entertainment for decades, was where VO mostly thrived.

Even once movies could come with sound, audiences would see VO most prominently in animation. Voice over examples of the time include the Walt Disney classic Steamboat Willy, among the very first animated shorts to incorporate any VO.

Soon Warner Bros would follow suit with their own animation, featuring the voice of Mel Blanc, one of the earliest and most famous voice actors. The video below gives a nice summary of the various characters he voiced during his career.

What is voice over in animation? See Mel Blanc.

Of course, non-animated movies would also take advantage of VO, which would first be seen mainly in the newsreels of the era. By the 1940s, VO became more common in movies, especially the film noir genre. Voice over examples in this genre can be seen in narration that became as commonplace as dark lighting and femme fatals.

VO also provided filmmaking with ADR (automated dialogue replacement). This process was prominently seen in Italian films, which would always dub their dialogue in post-production. However, all sorts of movies have taken advantage of ADR, whose use became fairly commonplace and is widely used in filmmaking today.

Later voice over

What is Voice Over Today?

The world of voice overs that we know and love today further evolved and refined itself by the time of the 1960s and '70s. While movies were still using them, as was the radio, you could now come across VO on TV. Voice over examples here mostly included commercials, but it could be found on regular programs, as well, especially the news.

Movie trailers were extremely widespread by this point; that includes TV advertising of the latest motion pictures. Voice overs got a huge boost in this area, as they became very famous and well-known in pop culture. The video below highlights one of contemporary cinema's most recognizable voice over examples: Red Pepper.

Famous voice over performer Red Pepper

Animated TV shows became more prominent throughout the '70s and '80s, which resulted in even more VO work for voice actors. Aside from commercials and the radio, these actors now had more work and ways to hone their craft. Many famous voices of the era, such as Casey Kasem, made an entire career out of voice acting. By the 1990s, voice acting was as plentiful and valued as regular acting before it.

And we can't forget the increase in animated films in the last couple decades. While they're now mostly (if not entirely) 3D, they still need voice overs, which can include industry vets, VO pros, and famous actors mostly known for being in front of the screen. This video shows what an actor usually goes through to prepare themselves for some off-screen singing and speaking

Advancements in technology also resulted in more people talking on the telephone. This meant that scripted voice overs would now be relayed over the phone; instead of a live human speaking, you could get a pre-recorded voice. These types of "on hold" calls became extremely common, further opening the field that voice actors could enter.

The internet has continued to expand the role of voice overs and the voice actors needed to make them. There are now dedicated organizations for voice actors who do a variety of work for a variety of businesses and industries. They often have their own profiles on websites, featuring plenty of voice over examples for businesses and companies.

While there are actors who almost exclusively do animation work, there are plenty who lend their voice to all sorts of videos and audio-only projects. It's become a sort of freelance arena where someone can easily get work from all over and provide their voice without having to go into a studio.

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Writing Voice Over

Now that you've answered "what is voice over," you're ready to learn how you can implement it into a script. Learn the tips and tricks that go into writing voice over into a script, and how you can use it in your next production.

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What is Voice Over? Definition and Examples in Film

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Voice over is the inclusion of a narrator speaking on top of the visuals on screen. Let's look at creative examples of how writers use it.