mix
Where the sound of *Standing Ovation* stands in the room, and what it does over the ninety seconds. Two tables and nothing else.
sound.mix
Where the sound of Standing Ovation stands in the room, and what it does over the ninety seconds. Two tables and nothing else.
Mix.BEDS
The ten sources that run the whole film and are mixed by a curve. Each carries a
world point — so the AudioListener on the FilmCamera hears it from wherever the
shot is standing — and a gain(t) that is a pure function of film time. No
wall clock, no accumulated state, so a rewind puts the mix back exactly.
| bed | where | what it is |
|---|---|---|
RainDome | under the dome apex | the storm through a roof nobody repaired. Lifts while the lens is up there in shot 3. |
RainProscenium | the face of the arch | water sheeting down the proscenium. |
RoomTone | the house (not spatial) | 1,412 empty seats. Gets out of the way when the house fills, comes back when it empties. |
Ballast | the worklight | the sodium choke. On through Acts I–II, gutters out under him in shot 5, and comes back alone over shot 13. |
ScoreThin | not spatial | Acts I–III: two low strings and a minor second that will not resolve. |
ScoreOvation | not spatial | Act IV: the same harmony opened out, with applause growing out of the middle of it. |
ApplauseSparse | the near stalls | a handful of pairs, each on its own tempo. The first hands in the film. |
ApplauseFull | mid stalls | the whole house, and nobody together. |
ApplauseBalcony | the balcony | the same clip started 0.21 s later, so the balcony's half-beat lag is real rather than an effect. |
ApplauseUnison | the house | 1,412 pairs landing on one grid. |
Two of them FOLLOW: Breath carries a follow(t) that walks it on with him and
stands it 45 cm from the lens for shot 6, so the closest sound in the film is a
moving source rather than a placed one.
Mix.SHOTS
The one-shots, each with its own emitter so it is heard from its own place:
fourteen Filament** down the apron igniting one at a time across shot 4;
DomeWater dripping onto the rake; RowGHands, the single pair in shot 10,
clapping slowly and out of time with everything behind it; CurtainIn; Steps — an emitter that WALKS, its position read
off the same Mix.walkPoint the lens composes shot 5 on, so his eight footfalls
cross the stage in the room rather than arriving from one point in it; and
GlovedHands — which is not in the room at all. It is at the lens.
The dramaturgy, in one paragraph
Acts I and II are rain, a room, a buzzing choke and two low strings — and no hands at all, which is what makes the first clap in shot 10 land. Shot 10 brings one pair in, out of time, with a dozen behind it at another rate. Shot 11 opens the full house. Across shot 12 the loose house is crossfaded under a gridded one, so 2,824 hands drift from chaos into unison without anything about the sound changing except which layer is loudest. Then the room empties again: shot 13 is rain, the ballast coming back up, and one pair of gloved hands close to the lens.
Reading it
require("sound.mix").snapshot(72.0) --> every bed's gain at that film second
Scoped to this part · feeds back into the world's score.