Film Roll Sound Effect Download

[Nina Zahra]

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I've started a collection of my own sound effects too... You could set off a fire cracker but if you didn't have a laptop it would be hard... you could hit something and mess with the pitch and speed. Idk I haven't made a gun sound effect yet either.

I record a loud Nerf gun firing, slow it down, then add two brick roll sound effects (made by rolling some random bricks) Make sure you have loads of different gun recordings and brick rolls it you do this. Makes the gun shots sound slightly different each time.

Being an avid film collector myself, I found out that Dave shared my passion for silent and early sound comedies. He would come over to my house to watch Buster Keaton, Laurel & Hardy, Our Gang, Mack Sennett, and many other old, silent, and sound, comedies that I had collected in 16mm. Dave had expressed an interest in having a theater at his house to show 16mm film as well. I was using a 1950s RCA 400 junior projector as they are very gentle on the older films.

After a few more American Fotoplayer collectors asked me to reproduce console lamps for their Fotoplayers I decided it might be fun to reproduce Victorian lamps. I went through all of the lamp catalogs to see what parts were available that might inspire me to make another unique Victorian lamp.

Now with the Fotoplayer playing, my attention turned to finishing the lamp over the piano console. I had purchased all of the parts that were needed to make the lamp complete. There was a matter of polishing and finishing the lamp. I asked Dave how this might be done. Dave reminded me of the brass piano roll rewind striker plate that he had given me several years ago when we first met at Carty Piano. He asked if I remembered that he polished and lacquered it for me. When I said yes, he told me that he would like to show me how to polish my Fotoplayer console lamp. We went over to an electric motor mounted on a very heavy metal base. The motor had two arbors or arms. One on each side that had round buffing wheels attached. He started this thing up and I had to jump back as it kind of growled and shuddered to life with a great whirring sound! Dave showed me how to polish only on the bottom half of the wheel so the part being polished does not get grabbed by the wheel and thrown back at me or flung into the twilight zone! (This happened a few times as I was attempting to learn the craft). One wheel was for teardown and the other was to finely polish the parts after the teardown. In no time at all we had polished and lacquered all of the Fotoplayer lamp parts.

I started thinking about my Laurel & Hardy gas-electric wall sconce as the next lamp project. I started looking for other lamp suppliers that might have different parts or more unusual Victorian type parts. I ended up with several catalogs that had some great stuff! This showed me that I could build almost any kind of Victorian lamp that I might want to.

At this time, I was still working in the kitchen at Glendale Memorial Hospital. I had made friends with Dick Van Hoosebecause he had trained me when I first started working there. We both attended the same high school. Dick was always fascinated by my Model A Ford. Soon he purchased one and we were touring buddies. Driving our Model A Fords through Griffith Park on our lunch breaks. Dick got a job at a British car repair shop but we still kept in touch.

Upcoming events are announced on the Home Page. Joe Rinaudo hand-cranks his Moving Picture Machine, usually with live accompaniment, at venues ranging from concert halls to family parks. He is also available for lectures to cinema producers, directors, technicians and talent, about how their industry began.

Additionally, there is a subdivision of these three types of sound in a film. These two subdivisions are diegetic and non-diegetic. Diegetic sounds are supposed to be in the film and are heard by the actors. An example of this is a scream in a horror film. While the audience hears the scream, so do the characters in the film. A non-diegetic sound is only heard by the audience. Examples of non-diegetic sounds are external narration or spooky music in a horror film (not heard by the characters).

North by Northwest does not have external narration and I do not recall any non-diegetic sounds other than the few short music scores in certain scenes. This movie does have basic sound effects. In the scene above, you can hear all the sound effects of Thornhill running, brushing through the cornfield, and gun fire on the soundtrack. This may seem rudimentary, but was advanced for its time. This film has a few short music scores as you can observe in the clip above. Commonly in the thriller genre today, you will hear music scores in scenes such as this where a character is running for their life. This creates suspense and keeps the audience on the edge of their seat, and this film has none. In this scene there is only sound after the plane crashes into the tanker truck. This music as the explosion occurs creates a mood of suspense and relief that Thornhill is alive.

I know this is one of the more trivial discussions and we have talked about this before, but how many still put 2 beeps at the end of the take? For most of us who have had a lengthy career working in analog linear tape and transfers to mag film, this was an important part of the process. As we all know, in the non-linear file based world, the audible end beeps have lost most of their significance --- when the take is over and we stop the recorder the file has come to its end without any need to identify this point. I still put 2 beeps at the end, mostly out of habit but it does still serve the purpose to let anyone else listening, script, director, boom operator, know that I have stopped the recording.

I continue to do so for the reasons you cite. I have a Cooper mixer and I flick the remote roll switch on and off to automatically generate the tones. I'm not sure I would continue the practice in the absence of such an easy method. And, I don't sweat it if I forget once in awhile.

Several years ago (I was not the mixer), a request came from post a few days in to have the stop beeps at the end of the takes. Why? Because they wanted to make sure they were there in case the take was used in the gag reel. "People expect to hear it". It was suggested they add it later. "Oh, right."

I never used mag/linear tape, but I was trained at Film School to do two beeps at the end of the take to signify cutting. I still do use two beeps and have one of the function buttons set up on my 01V96 to deliver tone, but sometimes equipment wont let you, say for example my Sound Devices 442, the tone switch will allow the tone to be either on or off, but the mechanical action of the switch won't allow two quick bursts of tone. But one thing I have stopped doing is recording a minute or thirty seconds of tone at the start of each day in the hope that the post people will calibrate the tone correctly on their equipment as no one is syncing or recording DAT anymore. Strangely though, I still run tone to camera when the camera assistant is recording bars.

I still do use two beeps and have one of the function buttons set up on my 01V96 to deliver tone, but sometimes equipment wont let you, say for example my Sound Devices 442, the tone switch will allow the tone to be either on or off, but the mechanical action of the switch won't allow two quick bursts of tone.

One of the reasons for my asking the question relates to the equipment in use, with some of the equipment/mixers not really letting you do 2 beeps easily. I have done them with the SD 442 mixer but you are right, the toggle switch makes it difficult to do this elegantly and easily. If I were to use a recorder directly, with an interface for example, I know that not all recorders have a tone generator that is easily accessible. The Deva can generate tone but you must leave the Home screen, push an onscreen button for tone, then press it again to end the tone --- not something I want to do at the end of every take.

Actually with the 442 it's easy. Go into the menu and assign a 400hz 1 second tone to precede the slate mic turning on. With a little practice you can get 2 short 400hz beeps or 1 long beep before the slate mic goes active. It works great for me.

The beeps can happen to alert people in the IFB mode (dir,scripty,etc - i am sure boom op would not need it!). Otherwise, it's not of any use? In this BWF, file based system - no telecine op/edit asst./sound asst., or the like would need to get an audio cue while "fast-forwarding".

Funny thing is that i would have rather liked that - it will eliminate many of the new-fangled "i am a sound guy" types from the foray - those who have NO clue about sound - especially analog. Is there any other yet?

It is an old habit. I still feel good when playing back a track from a Doc or reality job and i hear those two tones to indicate that i cut intentionally, not inadvertently or by accident. Also i have had weirdness occur when prepping tracks for transcription and some files got cut off. The two beeps are a confirmation that a file did not get cut off. PD-606 will add tail tones as well.

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