【SounDoer】电影混音大师 Greg. P Russell 和 Scott Millan 谈《Transformers: Age of Extinction》

@SounDoer：Greg. P Russell（http://www.imdb.com/name/nm0751169/）和 Scott Millan（http://www.imdb.com/name/nm0586793/）两位大神级电影混音大师近期接受了 Variety Artisans 的采访，谈了关于《变形金刚：绝迹重生》的声音混音。Greg. P Russell 和 Scott Millan 曾分别获得过16次和9次奥斯卡最佳声音混音的提名。Russell 提到，希望有更多的人能理解和区分“声音设计（Sound Design）”、“声音剪辑（Sound Editorial）”和“声音混音（Sound Mixing）”。

以下为文字报道 http://www.hitfix.com/in-contention/transformers-age-of-extinction-sound-mixers-reveal-how-they-keep-your-ears-from-caving-in 。

Greg. P Russell and Scott Millan are masters  of an art that can be difficult to appreciate. Great sound mixers take essential tracks — dialogue, score, and effects, all crafted and fighting for ear space — and meld them together to match, or enhance, the visuals on screen. In a film like “Transformers: Age of Extinction http://www.hitfix.com/movies/transformers/events/transformers-4 ,” the balancing act is like a Philippe Petit tightrope walk, one rogue robo-BRAAM tipping the controlled chaos soundscape into cacophony. In a new installment of Variety’s Artisans series, senior VP Tim Grey talks to Russell and Millan about the fourth “Transformers” and Michael Bay’s increasingly difficult audio challenge. “As Michael would testify, sound is 50 percent of his films,” says Russell in the video. A 16-time Oscar-nominated sound mixer, Russell has fit each of Bay’s “Transformers” films between work like “Skyfall” and “Alice in Wonderland.” “Age of Extinction” marked Millan’s first brush with Optimus Prime. But he’s no stranger to the blockbuster mixing world: Nominated for Best Sound Mixing http://www.hitfix.com/categories/best-sound-mixing nine times, Millan walked away with statues for his work on \"Apollo 13,\" \"Gladiator,\" \"Ray,\" and \"The Bourne Ultimatum.” His experience clues him into the dangers of heavy sound mixing. “We made a very conscious effort [on “Age of Extinction”] to not get so loud that it pulls the audience out of the film,” Millan says. “There’s a fatigue effect. Sonically, you can fatigue an audience and they\\\\\\\'ll tune out. You have to find ways to become more stylized and give the audience a break.” Russell feels strongly about delving into his job for your viewing pleasure. In a thorough preview of the Variey series http://www.hitfix.com/in-contention/variety-jumps-into-the-deep-end-of-crafts-coverage-and-its-about-time , Kris spoke to the sound mixer on the importance of digging into below-the-line crafts. It’s not just to wow outsiders, but to educate an industry that collaborates with them every day: \"The more people can look at all of these disciplines and get an inside perspective, it might open people\\\\\\\'s eyes,\" said Russell. \"I\\\\\\\'m all for anything that can better inform and educate not only the laymen, but also those in the industry. To this day there are filmmakers who don\\\\\\\'t understand the difference between sound design and sound editorial and sound mixing.\"

[flash]http://player.youku.com/player.php/sid/XODE2NjY2MDM2/v.swf[/flash]

http://v.youku.com/v_show/id_XODE2NjY2MDM2.html
https://www.youtube.com/watch?v=WBETntbtcTA
Michael Bay likes everything to look and sound cool. But as Variety\\\\\\\'s Tim Gray learned from sound re-recording mixers Greg P. Russell and Scott Millan, cooler doesn\\\\\\\'t always mean louder.

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