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The History of Sound at the Movies technology sound effects



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The inclusion of sound at the movies was one of the most dramatic changes in all of film history. Dive into the early experiments of Edison trying to incorporate sound from film’s inception, through the experiments in the early 1920s, the Jazz Singer and the industry sound overhaul, and finally the multi-channel surround and modern movie sound technologies.

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The History of Sound at the Movies

The History of Sound at the Movies

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The History of Sound at the Movies
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49 thoughts on “The History of Sound at the Movies technology sound effects”

  1. Mr. D.W. Griffith looks something like Bing Crosby.
    Too bad Amadeus which came out in 1984 missed the big sound improvement in 86. That movie still blew me away anyway!

  2. hello, I love the video is really interesting to learn some new things and the way that you explain is perfect for me, this was funny because I am a bilingual person and my dad can't speak English well, so I activate the subtitles and my Dad was really confused because the subtitles don't match with nothing form the video and we can't stop laughing about that.
    so later I try to explain everything to him in the correct way.
    but this no matters because you make me have a good time.

  3. It's been a whole day watching your videos… didn't realize I used whole day.. Not sure if I continue , hahaha, but thank you very much, your passion stands out. wow surprising it's 2014 video…. ;;

  4. Woah!…. It appears WB reclaimed their original footage from this video. There are entire sequences now missing that were apart of the Jazz Singer. They're just gone!…. 🥺

  5. First, this should be an answer to someone making a joke about the first sound film test.
    After almost writing, I was looking for an example and Google wasn't anything than my friend, thought, I would mean "Master".
    When I suddenly found, my started commentary was gone, the commentary I want to reply, is also gone or hidden or so.
    Ok, this way.
    Before electronic amplification the only possible way to do sound film was to use pre-recorded music and that the singer songs along. The "microphone" would have been too large and has to be too close, as seen in the Dixon test film.
    A good example is this: https://youtu.be/cSJ90Flr-t4

  6. Laurel and Hardy used title cards to improve the humor and the same way they used sound.
    Chaplin liked in sound film, that the music is in every theater the same, but want to keep the "silent movie style". He said, when the "Tramp" speaks, it will be the last movie with the "Tramp". And so "The Great Dictator" was the last appearance of the "Tramp".
    Later, Chaplin made also jokes about widescreen film.

  7. Jesus, I'm going through your videos and you have gone through an entire college course. BRAVO! I am not sure if people like you understand how much you are having an impact on the popularisation and accessibility to knowledge. When Aronofsky said that the Internet is more than enough for you to learn about filmmaking and then put it into practice, I understand what he had meant. A low bow from everyone for your work!

  8. Such an amazing history lesson on both cinema and audio technology. Ever since my love for film, I have always been an avid fan of technicalities with sound on films, especially acoustical treatment with the actual cinematic experience, which even home theater systems can't really replicate 100%, it's just not the same. I love this topic so much, thank you for this! 😁 Also, DTS is still better for me. 🤣

  9. Please fix the subtitles. It appears that the video and audio of The Jazz Singer excerpt was removed. (That dialogue remains in the subs) but then all remaining subs after that edit come in very late.

  10. Cinerama had three surround speakers, left, right, and center, switched manually, literally by a person sitting at the audio console. Perspecta didn't switch the mono track to one of the three screen speakers at a time. It dynamically and smoothly varied the volume of each speaker individually, so the sound could go to one only, any two, or all three in varying amounts with split-second timing. For example, a full orchestra playing would come from all three screen speakers, and if a cymbal crashed on the right, the right speaker would get louder and fade back just for the duration of the crash. Most of the time, the effect was indistinguishable from sound recorded and played with three channels because, like Dolby, it took into consideration psycho-acoustic listener considerations (I've studied Perspecta articles and patents and attended a theater screening of a Perspecta feature).

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