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Originally posted by Salopian

how the fuck has Inception got sound nominations? The sound quality is extraordinarily poor in that film.

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Originally posted by GHcool

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Originally posted by Salopian

how the fuck has Inception got sound nominations? The sound quality is extraordinarily poor in that film.

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Sound design is the art of creating realistic and/or artistic soundscape. Many people don't realize that almost everything they hear in a movie was created. Consider a scene in Inception in which several layers of dreams are happening all at once: a snow chase, a car falling into water, a hotel in zero gravity, and Leonardo DiCaprio's subconscious. The sound designers deliberately created different soundscapes for each of these environments. The chilly wind and motors in the snow chase, the ultra slow-motion of glass breaking in the car plunge, the quiet hum of the roomtone in the hotel, etc.

The process can somewhat likened to set design in the sense that almost nothing you see on screen is actually "real" in any sense, but created to look real or, often times, "more than real" for a desired effect. Anyone who knows anything about sound design would consider the sound in Inception to be superb.

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Originally posted by Cracovian

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Originally posted by GHcool

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Originally posted by Salopian

how the fuck has Inception got sound nominations? The sound quality is extraordinarily poor in that film.

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Sound design is the art of creating realistic and/or artistic soundscape. Many people don't realize that almost everything they hear in a movie was created. Consider a scene in Inception in which several layers of dreams are happening all at once: a snow chase, a car falling into water, a hotel in zero gravity, and Leonardo DiCaprio's subconscious. The sound designers deliberately created different soundscapes for each of these environments. The chilly wind and motors in the snow chase, the ultra slow-motion of glass breaking in the car plunge, the quiet hum of the roomtone in the hotel, etc.

The process can somewhat likened to set design in the sense that almost nothing you see on screen is actually "real" in any sense, but created to look real or, often times, "more than real" for a desired effect. Anyone who knows anything about sound design would consider the sound in Inception to be superb.

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Thanks for the explanation, as I didn't have any idea what it meant. However, I stand by not wanting it to win any sound award: there are parts where it is very hard to tell what is being said. I don't care how good the design is if the experience is a misery for the audience: it would be just the same if the set design got in the way of the important things to see. I imagine that this can be passed off as intended as part of the dream scenario, but it's not for me � and I loved the film.

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Originally posted by Cracovian

The film-makers should make films based on how sophisticated thousands of lowly paid cinema workers can realistically be, either by making things simple enough that they cannot be misapplied or by providing clear instructions as to what to do.

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Originally posted by GHcool

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Originally posted by Cracovian

The film-makers should make films based on how sophisticated thousands of lowly paid cinema workers can realistically be, either by making things simple enough that they cannot be misapplied or by providing clear instructions as to what to do.

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No they shouldn't. Filmmakers should make films based on the prevailing technology. It is up to the cinemas to keep up.

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Originally posted by demonic

So... make your film less sophisticated and less impressive to make it better in less sophisticated cinemas?

I know where you're coming from as I had the same issue with other big budget films (although not Inception, which seemed crystal clear to me) - but I'm saying the issue isn't the film. Logically - of course it's not. If it were then every reviewer and every audience member would say... the sound was dreadful. It's an isolated thing, so the issue is in the projection, not the film.

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Originally posted by Se�n

Movie makers are entitled to assume that cinema operators have a basic level of knowledge and are capable of delivering the product that the customer is paying for. An analogy: if a waiter in a restaurant recommends a chardonnay with your green Thai curry and it tastes disgusting (it would) then you don't blame the winemaker, it's entirely the fault of the dining establishment who should know better. I'm glad winemakers don't make all their wine as a 'one wine suits all' product tailored for the most retarded restaurant operators.

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