It’s the difference between just hearing something and being inside a room that’s shaking. “When you see the B-52 strikes in this new version, you feel them and then you hear them. “When you sense those extreme low frequency sounds, immediately hormones are secreted into your bloodstream that tell you ‘get the hell out of here fast’ or ‘freeze and play dead,’” explains Coppola. All very low frequency sounds are bolstered by a corporeal sensation of physical force. Unlike conventional subwoofers that roll off at the threshold of hearing (about 20Hz), the VLFC bridges across this threshold to deliver infrasonic response down to 13 Hz. Sensual Sound is implemented in both the post-production of the soundtrack and in the film’s exhibition using Meyer Sound’s VLFC very low frequency control element.

But what we have in this new version with Sensual Sound is deeper and more powerful because the technology has vastly improved. “You had to get those frequencies on the soundtrack first, and then you had to reproduce them with loudspeakers. “There were no films at the time with that kind of infrasonic, ultra-low frequency impact,” says Meyer Sound president and CEO John Meyer, who had founded his company only months before the film’s first release. However, despite their groundbreaking efforts, the technical limitations of the day thwarted attempts to effectively emulate the powerful, corporeal force inherent in the sounds of modern warfare. The film’s original release garnered universal acclaim for its imaginative and evocative soundtrack, with the team headed by film sound innovator Walter Murch receiving the Academy Award for Best Sound Design. Under Coppola’s personal supervision, a team from his American Zoetrope production company remastered the film’s visuals in 4K Ultra HD with Dolby Vision from the original negatives, and also transferred the soundtrack to high-resolution 96 kHz digital for remixing and remastering in Dolby Atmos. For the first time, Coppola’s original intent for creating a visceral, deep low frequency impact has been fully realized with the introduction of Sensual Sound™, developed by American Zoetrope in partnership with Meyer Sound Laboratories, Inc. So, the best place to place a transition sound effect is at 1-2 frames after the video transition kicks in.Featured Products 1100‑LFC, LEOPARD, UPA-1P, UPJ‑1P, VLFCįorty years after its original 1979 release, filmmaker Francis Ford Coppola’s celebrated masterpiece of the Vietnam War era has been restored, remastered and re-released as Apocalypse Now Final Cut. However, since our human beings perceive audio faster than visual, very often you can’t perfectly align the visual with the transition sound effects. Many amateurs would place transition sound effects right at the start of a video transition. Sometimes, transition sound effects can be the ambience sounds like a dog’s barking or a person's mumbling, you can use these J Cut or L Cut for a smooth scene transition from A to B or B to A.įind the sweet spot for transition SFX. Don’t use too many transition sound effects because it can get annoying and keep the volume of transition sound effects lower than that of the BGM, and dialogue otherwise it may distract the viewers. You can take it as a match cut between visual and auditory experience. For example, it makes more sense to add a whoosh or swoosh transition sound effects for a whip pan transition or to connect two fast-moving scenes like running or jumping than using a riser or slow-motion transition sound effects.

Match transition sound effects with the visual. Well, though there are no strict rules for using transition sound effects, here are some rules of thumb for you to keep in mind:

We need to go deeper sound effect