Those are just the questions that a sound effects person would be asking.
A friend of mine was producing a radio feature. He phoned their sound archives: "I need a machine-gun shooting." "Hm. What caliber? How far is the target? Shooting to kill or to distract? Long or short bursts? What kind of emplacement, in the open, in a foxhole, in a bunker?" and so on. He reports that the tone of the archivist was approximately "you oaf, you can't ask for a generic sound, it always has a meaning and a context".
I've never dealt with a sound-librarian, sound-effects engineer, or Foley person in real life, so that was my unconscious figuring out "how it would have to work" to fill in that detail of the dream, I guess. When I woke up and noticed that detail, the idea of asking those kinds of questions made logical sense, even though I wasn't certain they'd be that specific about that particular sound.
I have a feeling that "it always has a meaning and a context" is going to stick with me, and I'll hear that in my head ifwhen I ever do wind up dealing with that sort of thing.
(no subject)
A friend of mine was producing a radio feature. He phoned their sound archives: "I need a machine-gun shooting." "Hm. What caliber? How far is the target? Shooting to kill or to distract? Long or short bursts? What kind of emplacement, in the open, in a foxhole, in a bunker?" and so on. He reports that the tone of the archivist was approximately "you oaf, you can't ask for a generic sound, it always has a meaning and a context".
(no subject)
I have a feeling that "it always has a meaning and a context" is going to stick with me, and I'll hear that in my head ifwhen I ever do wind up dealing with that sort of thing.