Terminator 2 sound design deconstructed with Gary Rydstrom
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- Опубліковано 30 лип 2024
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Terminator 2: T-800’s shotgun sound design deconstruction ► bit.ly/2w6ofGj
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A fascinating sound design deconstruction of the Terminator 2: Judgment Day steel mill fight including commentary from legendary sound designer Gary Rydstrom!
INDEPTH Sound Design created by Mike James Gallagher
► www.mikejamesgallagher.com/
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Special Thanks to Michael Coleman, Carolyn Croce, Gracie Hartmann, Brett Noborikawa, and Ivan Power-Kronick
Stems and commentary pulled from the Terminator 2 Special Edition DVD.
#sounddesign #garyrydstrom #terminator2
00:00 Sound FX Only
01:09 Ambience Only
02:19 Foley Only
03:28 Music Only
04:38 Final Mix
05:48 Gary Rydstrom Commentary 1
06:57 Gary Rydstrom Commentary 2
Welcome to Indepth Sound Design! Let me know if you learned anything from this video. Don't forget to subscribe so you never miss an upload!
Very interesting! Learned a lot!
Gary Rydstrom is the best sound designer ever. Please give him 2 thumbs up for his success in sound design. These sound effects are interesting even though Terminator 2 isn't my favorite movie at all.
😫 The way the layering all finally comes together so seamlessly in the mix. So satisfying to watch and listen to
Agreed! I had a lot of fun making this video for the same reason. Thanks for watching!
I was a child when I saw this movie back in 1991 and now I see this.
these are awesome! I thought it was interesting the different types of whooshes and how you only really hear them in cheesy movies, but here it's done to enhance their movement. I wonder if they purposefully left out the grunts and breath foley to make the scenes feel more robotic and less human like.
Totally! They 100% left the grunts out since the terminators are never exerting themselves. A related funny movie blooper is at 00:33 where the stuntman didn't get the memo that he was a terminator that didn't need to make his reactions over the top. Then, 2 seconds later it cuts to a close up of actor Robert Patrick performing the exact same movement except this time pitch perfect with a completely dead reaction.
Thanks for watching!
Super cool how this all is developed and compiled for the final mix.
Will you be able to shoot a video where the sounds of a truck chase are deconstructed, where the T-1000 is chasing John Connor?
now I can finally understand
why the THX logo at the beginning of this
they put an amazing effort to get this
Absolutely amazing. Thank You.
Wow, just listening to the ambiances by themselves was very enlightening as to how they matched the mood/action on the screen! Fascinating.
I know right? It's really interesting what happens at the end with the machine sound almost turning into music.
Indepth Sound Design , exactly! I've noticed this theme a few times while studying sound design, that sometimes it can be "almost musical".
One of the music samples used were later used in Crash 1 for the PSX
Thanks for this, the balance of the mix combined with the right sound fx is just so perfect.
I know isn't it great? Even when I was a kid I was fascinated with the punch/yogurt sound. So satisfying.
It is so informative to have the different layers sorted out like this. Very cool to hear the ambience in isolation, for example, and see how it plays together with the other layers and the rest of the scene. At 2:03 when Arnie gets his arm in the machine, there's a rising pitch in the ambience. I think it plays nice with the music and emphasises the tension of the scene.
I wonder why some of the sfx sounds seem to cut off a bit early. At 0:18 for example. You don't hear it in the final mix, but I wonder why they do it like that. There are also some sounds which seem to be omitted from the reverb, like the sfx at 1:07, and some of the foley, I think. If someone wise knows the rationale for these things, I'm am eager to hear them!
Very observant! I think there are a couple of reasons for both the examples you mention. First of all, both of these events happen very close to the camera so there's no need to "spatialize" the sound as much much. Second, it's all about dynamics and contrast. If you're familiar with music mixing you'll know that a very general rule is to not add reverb to the kick drum, but you can do whatever you want with the snare like spread it super wide and have it dripping in echo. This isn't realistic but the contrast is very effective. This applies to film mixing as well, although it's not as rigid. In a busy mix, like this action scene, you want to have a pleasing contrast of dry in your face sound fx, among nicely spatialized sound fx. Overall, it's just all about what feels *right*. If you have a good comprehensive knowledge of observing film sound then the scene you're working on will tell you during the final mix what isn't working, i.e. feels empty, too spatialized, too dense, etc. And then in the end it's all about your taste.
Wait wait wait! Hang on a minute, here! As I'm sitting here, I can't remember where I heard this, recently(if I figure it out, I will update), but as I remember it the characters hitting the panels were done by people taking a swing with something like a baseball bat to an empty filing cabinet. Truly and inspired design, but would that not count as Foley?
Nah, thats a sound effect.
Foley consists of mundane sounds, like footsteps, rustling clothes, skin rubbing against skin or other objects.
Just discovered this channel, really helpful resource as I'm experimenting with film folly.
Subbed!
Glad you enjoyed it!
Great idea! Thank's a lot, it's very useful
+Rezi Loladze Awesome, I’m glad you got something out of it!
What sounds did you use for T-800 vision data processing?
This is very cool. Thanks for doing this and sharing it. I'm working on a fan edit of T2 that changes the soundtrack (I'm using a lot of dark synth music instead of the original score) and rebuilding the sound effects is quite a choir lol.
Oh wow, that DOES sound like a lot of work. How is the fan edit going? Will you be sharing it anywhere?
@@INDEPTHSoundDesign TBH I've been working on it whenever I have time for the better part of 7 years now lol. I don't know if it'll ever be finished.
I'm glad to have found this !!!
I'm so glad you found me too!
No wonder I love Jurassic Park and T2.
Thank You 😍
You're welcome 😊
Can you do this for the galleria fight & the t-1000's death? Working on a project
Sorry for the extremely late reply- If I had the entire movie stems I totally would but, very unfortunately, I don't have them 😰
Thanks for best video.
You're welcome!
Please can someone isolate a sound effect that comes up twice that has always confused me. When the t1000 throws Arnold through the wall in their first fight at the shops it sounds like a guy yelling meow. The sound effect again happens when Arnold smashed through the clean room wall to save Sarah from the swat team. Has anyone else noticed this noise?
How do you do stuff like this?
Please tell me there is a deconstructed version of the entire film, especially the canal chace scene?
There isn't. This is part of a special featurette on the DVD breaking down the sound design of the film. It also includes breakdowns of the Terminators shotgun in the Galleria and the scene where the T1000 freezes and reforms, but thats pretty much it.
If you like Jurassic Park, there are fascinating breakdowns of both the T-rex and the velociraptor sounds from that movie.
Just found this video do you have more sounds available on UA-cam an where do you get them?
Everything I have will be released on this channel eventually!
wow thx
You're welcome!
The whole movie is a sync symphony...
Are these the actual stems from the movie?? how??
Subscribed...
Haha, thanks! All sources listed in the video description!
TERMINATOR 3 have scene ?
No music is better. More tension and dramatic