WEBVTT 00:00.471 --> 00:03.993 [SPEAKER_00]: What a tasers try to oranges and lawn rollers have in common? 00:04.373 --> 00:10.657 [SPEAKER_00]: They're all used to create movie sound effects in the most utterly bizarre and unexpected ways imaginable. 00:11.037 --> 00:16.860 [SPEAKER_00]: Seriously, you'll never guess what cinematic sounds those try to oranges are repurposed to create. 00:17.261 --> 00:23.164 [SPEAKER_00]: As it turns out, most of us moviegoers overlook one of cinema's most important elements, the sound effects. 00:23.644 --> 00:34.478 [SPEAKER_00]: So from Wushing Light Sabers and Galant Knights does scream aliens, animal impersonations, and beyond, today we're going to learn how they make the most famous sound effects in Hollywood. 00:47.573 --> 00:50.254 [SPEAKER_00]: So how do movies handle sound to begin with? 00:50.614 --> 00:58.475 [SPEAKER_00]: Well when movies are filmed, those big long boom microphones you see in behind the scenes what a jerk focused on capturing the actor's dialogue. 00:58.715 --> 01:09.197 [SPEAKER_00]: The director and sound engineers will do their best to cut out other distracting background noises like footsteps, body movement, and other assorted environmental sounds that might make hearing the words difficult. 01:09.618 --> 01:15.319 [SPEAKER_00]: It's a fully artist job to recreate these backgrounds sounds or replace them with newer 01:16.879 --> 01:23.184 [SPEAKER_00]: In a studio, so they can be added back into the movie with fully adjustable volume levels when the movie is being added in. 01:23.644 --> 01:36.413 [SPEAKER_00]: Paired with an ingenious combo of audio mixing effects from equalizers, compressors and reverbs to distortion effects and beyond the end results of these fully artists and sound mixer team-ups are absolutely mind-blowing. 01:36.733 --> 01:49.678 [SPEAKER_00]: With fully artists getting their name from American Sound Effects artist Jack Donovan Foley, these particular sound experts are wizards of scene building, and when they're doing their strange fascinating jumps correctly, you wouldn't even notice. 01:50.239 --> 02:02.204 [SPEAKER_00]: Foley artists will, for example, own a variety of shoes to perfectly simulate the flipwear worn by the character on screen, and their studio will often contain a fully pit that lets them walk on different substances 02:07.233 --> 02:16.219 [SPEAKER_00]: Sometimes mimicking the character's on-screen requires some incredibly specific movements like donning plastic packaging to mimic a scientist and hazmat suit. 02:20.882 --> 02:24.845 [SPEAKER_00]: Nor stepping on a bean bag to simulate boots crunching through deep snow. 02:29.628 --> 02:31.289 [SPEAKER_00]: pretty satisfying, isn't it? 02:32.089 --> 02:41.472 [SPEAKER_00]: A fully artist job isn't just about walking on the spot, and when they work on a sign by a movie, they have to create sounds that don't actually exist like a hatching dinosaur. 02:50.762 --> 02:58.887 [SPEAKER_00]: The Lazaraptors are long extinct, but Jurassic Park's fully teen brought them back to life in this scene by slowly crushing an ice cream cone. 02:59.388 --> 03:11.015 [SPEAKER_00]: As I attempted to recreate here, I do bad, right? 03:11.315 --> 03:16.298 [SPEAKER_00]: However, the raptors in Jurassic Park don't stay little for long, and when they grow up, 03:27.453 --> 03:37.595 [SPEAKER_00]: The raptors in the scene are terrifying, but incredibly, their barks are actually the sound of two tortoises mating at marine world, an old aquatic theme park in California. 03:37.855 --> 03:46.816 [SPEAKER_00]: The original recording sounds a little something like the noises this tortoise made while having some mistaken identity latent fun with a tree stop. 03:51.616 --> 03:55.977 [SPEAKER_00]: Yeah, a little fella, that just ain't going to work out for ya. 03:56.437 --> 04:06.499 [SPEAKER_00]: But back to Raptors, when these Jurassic Park icons grown at their prey like this, you're really hearing a horse's heavy breathing, a little like this. 04:09.540 --> 04:13.781 [SPEAKER_00]: And when the Raptors are in pursuit, you're hearing the sounds of an adolescent dolphin, 04:22.089 --> 04:32.841 [SPEAKER_00]: These sounds aren't particularly scary alone, but when the sound designers combine them, they created a monster that sounds completely prehistoric. 04:35.944 --> 04:39.048 [SPEAKER_00]: Let's move from Dinos to a more modern cinematic animal. 04:42.653 --> 04:51.119 [SPEAKER_00]: Movies will often feature birds flying in the background and a fully artist can recreate their movement by hilariously flapping a pair of gloves together. 04:51.419 --> 04:52.400 [SPEAKER_00]: Here's my attempt. 05:01.867 --> 05:05.830 [SPEAKER_00]: Sure Mac, love birds sound a little rubbery, but you get the gist, right? 05:06.291 --> 05:10.895 [SPEAKER_00]: Now you may be wondering why fully artists don't just record real birds to achieve this effect. 05:11.215 --> 05:19.162 [SPEAKER_00]: While the recorder real animal, you'd need the creatures to act exactly like the ones on screen and record them without capturing any background noise. 05:19.502 --> 05:23.806 [SPEAKER_00]: This is difficult and expensive, so most movies will simply go fully. 05:24.226 --> 05:32.829 [SPEAKER_00]: These aren't as have a whole tool kit of other inventive techniques like putting those gloves back on and rubbing a sand-covered floor to impersonate a slithering snake. 05:42.380 --> 05:48.627 [SPEAKER_00]: When recreating sounds made by animals fully artist generally try to make the most realistic sounds that they get. 05:49.027 --> 05:55.795 [SPEAKER_00]: However, sometimes sound designers forgo out the intensity and focus on creating the most dramatic sound effects for the scene. 05:56.195 --> 06:03.443 [SPEAKER_00]: One key example of this comes from the Lion King, a Disney movie full of big cats singing about the circle of life and roaring. 06:07.814 --> 06:17.258 [SPEAKER_00]: Mooflosses, roars aren't incredibly powerful, but these sounds weren't taken from a line, then you're really listening to a dude cut, Frank Welker, screaming into a trash can. 06:19.199 --> 06:19.479 [UNKNOWN]: Great. 06:35.351 --> 06:41.755 [SPEAKER_00]: The movie follows lions with human personalities who Disney wanted each one to have expressive roars with real emotion. 06:42.215 --> 06:54.863 [SPEAKER_00]: To achieve this, they enlisted a claimed voice actor, Frank Welker, allowing him to add a bit of humanity to the cats by performing grounds while using a metal trashcan's natural reverberation to make them sound larger than life. 06:55.743 --> 07:01.467 [SPEAKER_00]: From one roaring predator to another, let's move on to one of the most iconic movie monsters in history. 07:08.882 --> 07:13.864 [SPEAKER_00]: The T-Rex sounds in Jurassic Park or some of the greatest fully triumphs of all time. 07:14.264 --> 07:18.085 [SPEAKER_00]: Suitably, it's massive footsteps are actually falling redwood trees. 07:22.367 --> 07:25.208 [SPEAKER_00]: And it's breath is captured from a whale's blowhole. 07:28.849 --> 07:33.031 [SPEAKER_00]: However, some parts of the monster sound designer surprisingly, small scale. 07:33.351 --> 07:36.912 [SPEAKER_00]: Like its famous roar, which was built around the call of a baby elephant. 07:39.277 --> 07:46.420 [SPEAKER_00]: While developing the roar sound designers lowered the pitch up the baby elephant recording before combining it with grass made by a lion. 07:48.581 --> 07:50.382 [SPEAKER_00]: And a bellowing alligator. 07:52.843 --> 07:56.545 [SPEAKER_00]: Reducing the full pallet of T-Rex vocalizations. 08:01.867 --> 08:03.708 [SPEAKER_00]: Well, almost the full pallet. 08:03.968 --> 08:06.729 [SPEAKER_00]: The fully-team still had a few more ideas in the bank. 08:07.050 --> 08:07.870 [SPEAKER_00]: Take this scene. 08:14.974 --> 08:24.904 [SPEAKER_00]: One sound designer noticed Ourexie shaking its head back and floored like a dog playing with a toy, so they recorded themselves playing with a Jack Russell capturing its grouse a little like this. 08:29.965 --> 08:38.692 [SPEAKER_00]: As a result, when Rexie chowls down in Jurassic Park, you'll hear the distinct sound of an excited dog, proving that the monster is nothing more than a big ol' puppy. 08:39.692 --> 08:44.376 [SPEAKER_00]: Let's stay on sci-fi moving from dinosaurs to a galaxy far, far away. 08:44.756 --> 08:52.082 [SPEAKER_00]: The Star Wars franchise's full of fame and sound effects, and many of those were created by legendary sound designer Ben Bird. 08:57.657 --> 09:07.684 [SPEAKER_00]: Bird has worked on Star Wars since the very beginning and when it came time to create the sounds for the iconic lightsaber, he started by recording a humming movie projector like this one. 09:12.187 --> 09:19.573 [SPEAKER_00]: Ben then built on this sound by taking a microphone and holding it up to an old fashion TV which created a buzzing feedback. 09:23.946 --> 09:30.740 [SPEAKER_00]: These elements formed the lightsaber, but been new that when the weapon was swamped through the air, the sound would have to vary. 09:35.200 --> 09:43.845 [SPEAKER_00]: He saw this by playing the buzzing sounds through a speaker and moving a microphone in front of it, creating changes and intensity in time with the character's movements. 09:49.769 --> 09:57.113 [SPEAKER_00]: When Ben combined these sounds, the lightsaber was complete, leaving him to work on another iconic weapon, the Blasters. 10:01.718 --> 10:06.503 [SPEAKER_00]: Incredibly, Ben developed this iconic sound by accident, cross-tiking in Pennsylvania. 10:06.944 --> 10:14.412 [SPEAKER_00]: As he walked under a radio tower in the Pocano Mountains, his backpack called on a steel guy wire, making a loud twang like this. 10:19.940 --> 10:21.400 [SPEAKER_00]: But, love this sound. 10:21.720 --> 10:30.282 [SPEAKER_00]: So he later took his recording equipment to a similar radio tower near LA and hit its wires with a wrench, creating the sound for every blaster in Star Wars. 10:30.743 --> 10:34.784 [SPEAKER_00]: Once the weapons of Star Wars were finished, Ben had to work on the movie Star Ships. 10:40.185 --> 10:45.606 [SPEAKER_00]: The tiefighter screeches iconic and unbelievably the sound was taken from a trumpeting elephant 10:52.624 --> 10:55.925 [SPEAKER_00]: This audio is one of the few Star Wars sounds that Bert didn't create. 10:56.245 --> 11:06.047 [SPEAKER_00]: However, his innovative left field choice to use the Elephants clearly paid off as the Typhiders' animalistic screeches become one of the most distinctive sounds in movie history. 11:08.947 --> 11:15.688 [SPEAKER_00]: Blasters, laser swords, and spacecraft aside sound designers often have to work on sounds that aren't so futuristic. 11:16.129 --> 11:18.129 [SPEAKER_00]: A brave 9, granting a horse for example. 11:23.552 --> 11:30.859 [SPEAKER_00]: Accurately creating the sound of horses is a common job for fully artists, but it's a process that requires several steps. 11:31.199 --> 11:36.564 [SPEAKER_00]: First, they'll work on the horses who is by hitting a hard object against the ground in time with its movements. 11:41.368 --> 11:46.233 [SPEAKER_00]: Then the fully artist will mimic the horses saddle and reins by shuffling chains and leather. 11:52.668 --> 11:58.194 [SPEAKER_00]: Then, if the horse is being ridden by a brave knight, they'll channel their inner serves scrap a lot. 11:58.354 --> 12:01.757 [SPEAKER_00]: By holding some scrap metal against their bodies and bouncing up and down. 12:07.563 --> 12:13.910 [SPEAKER_00]: These sounds aren't very convincing on their own, but when they're combined, they sound remarkably like a galloping horse. 12:21.997 --> 12:25.683 [SPEAKER_00]: Let's move from swords and sandals to a good old fashioned fistfight. 12:26.023 --> 12:30.170 [SPEAKER_00]: The action genre is built around people punching each other in the fakes. 12:30.511 --> 12:34.477 [SPEAKER_00]: And fully artist will often create these sounds by hitting slabs of raw meat. 12:42.198 --> 12:45.321 [SPEAKER_00]: So turns out you can't get paid to beat your meat after all. 12:46.282 --> 12:57.313 [SPEAKER_00]: This method is common, but eminominated fully artist Senakelli shows that you don't have to visit the butcher shop to create the effect by using a boxing glove, a suitcase, and some denim instead. 13:05.659 --> 13:21.603 [SPEAKER_00]: The Holonist of the Suitcase creates a great natural thickness to the sound providing another example of the scrappy ingenuity of our Foley Heroes, but superhuman body parts need to make sounds too, and superhero movies require equally creative foley action. 13:22.003 --> 13:32.045 [SPEAKER_00]: One Wolverine first popped out his signature claws on screen back in 2000, Foley artists combined the sound of pulling a knife out of a sheet with a chicken carcass being torn apart. 13:32.345 --> 13:34.146 [SPEAKER_00]: See if you can hear those sounds here. 13:37.340 --> 13:44.690 [SPEAKER_00]: As you've just heard, the resulting sound was both metallic and flashy, and was utilized throughout Fox's X-Men franchise. 13:47.934 --> 13:52.761 [SPEAKER_00]: It could even be reused in X-Men 2 for that a Pentium-Clawed villain, Lady Deathstrike. 13:56.568 --> 13:59.350 [SPEAKER_00]: Chicken Chulee is the most versatile meat. 14:00.071 --> 14:09.698 [SPEAKER_00]: Of course, movie fights, whether with claws or fists often lead to injuries, and when a character at a movie breaks an arm or leg, the fully artists have to recreate the gruesome sounds. 14:13.561 --> 14:21.447 [SPEAKER_00]: This effect might sound painful, but it's actually created by snapping a large handful of celery at the exact moment that the character is injured. 14:26.337 --> 14:34.046 [SPEAKER_00]: I snapped that celery to simulate a broken armor leg and sped the clip up for maximum impact, but different bones require different sound effects. 14:38.451 --> 14:46.881 [SPEAKER_00]: When Terminator 2 sound team worked on simulating this trampled skull, they took of all things a pile of pistachios and crushed them with their hands. 14:50.554 --> 15:00.397 [SPEAKER_00]: Now when I recreated the sound, it didn't quite match the one in the movie, but after altering the audio with editing software, shout out able to live, it bit the scene pretty well. 15:02.158 --> 15:06.779 [SPEAKER_00]: This isn't the only time the Terminator 2 sound team rated the kitchen to create an effect. 15:07.159 --> 15:12.701 [SPEAKER_00]: During the movie, Sarah Connor has chased by a shapeshifting liquid metal robot that T1000. 15:13.001 --> 15:19.383 [SPEAKER_00]: When the T1000 is shot, bullets pass through his liquid body making a wet plop as they travel out the other side. 15:26.964 --> 15:38.706 [SPEAKER_00]: To create this sound, the foliarist needed something gloopy with a bit of weight behind it, and they achieved the effect by taking a drinking glass and dropping it into a giant bucket of yogurt, delicious. 15:39.785 --> 15:45.829 [SPEAKER_00]: So far we've looked at gunshot wounds and broken bones, so let's move to the romantic side of Hollywood. 15:46.349 --> 15:53.233 [SPEAKER_00]: Now personally I find cheesy Rob comes sickening, but the way Fully Artists work on romantic scenes is even grosser. 15:53.594 --> 15:58.717 [SPEAKER_00]: See if two characters kiss in a scene Fully Artists aren't expected to start making out in a recording post. 15:58.957 --> 16:01.959 [SPEAKER_00]: That'll simply kiss their own hands to recreate the sound. 16:11.982 --> 16:26.337 [SPEAKER_00]: I'm sure the fully artist working on James Cameron's Titanic got very familiar with their hands while working on the movie's long list of love scenes, but spoiler alert, the boat sinks at the end leaving the star-crossed lovers floating in the icy Atlantic Ocean. 16:30.730 --> 16:35.812 [SPEAKER_00]: As Rose moves her head in this scene, her frozen hair peels off the wooden door she's floating on. 16:36.152 --> 16:43.434 [SPEAKER_00]: This makes a subtle background sound that the Foley team created by freezing an entire head of lettuce before peeling its leaves. 16:47.676 --> 16:56.479 [SPEAKER_00]: This sound is incredibly subtle and demonstrates the attention to detail of movie sound teams, but sound designers also work on far larger pieces of ice. 17:07.950 --> 17:14.193 [SPEAKER_00]: The sound of this cracking glacier is pretty powerful, but it can be recreated with surprisingly small probes. 17:23.805 --> 17:31.712 [SPEAKER_00]: As this herb is scraped across a dry orange, it sounds just like ice cracking, but it still doesn't have the power of a crumbling glacier. 17:32.172 --> 17:40.819 [SPEAKER_00]: As a result, polyartis will digitally edit this sound using distortion of x-requency equalization and reverb to make it a better fit for the scene. 17:43.540 --> 17:51.845 [SPEAKER_00]: Audio editing can clearly be a helpful tool, but fully artists will want to name to recreate a sound completely practically with minimal editing trickery. 17:52.065 --> 17:55.106 [SPEAKER_00]: Sometimes this requires the use of crazy custom props. 17:55.467 --> 17:59.389 [SPEAKER_00]: They, for example, a scene of a woman tapping her long nails on a surface. 18:01.863 --> 18:07.789 [SPEAKER_00]: As a man with short fingernails, you'd expect fully artist Stefan Fred to sell it as struggle recreating this scene. 18:08.129 --> 18:13.855 [SPEAKER_00]: However, Stefan can channel his inner diva whenever he wants, with the help of his homemade fingernail gloves. 18:16.938 --> 18:22.103 [SPEAKER_00]: This outfit allows him to perfectly impersonate long fingernails, even impersonating texting. 18:27.425 --> 18:32.306 [SPEAKER_00]: Buds to fun isn't the only fully artist who creates sound effects with some proper application. 18:40.107 --> 18:44.948 [SPEAKER_00]: One fully artist Alexa Colacovic attempted to create the sounds of this gunman. 18:45.368 --> 18:53.850 [SPEAKER_00]: He decided to impersonate the character by picking up a bag with metal detailing, downing it like a gun, and copying the character's every movement. 19:04.880 --> 19:12.422 [SPEAKER_00]: Of course, this technique and others like it can be used to create the sounds of any gunmen on the move, including characters and video games like Fortnite. 19:12.602 --> 19:17.543 [SPEAKER_00]: Thankfully, it's a little safer than inviting a real craze godman into your recording booth. 19:17.903 --> 19:27.865 [SPEAKER_00]: Baking up a prop and throwing it around seems like a surprisingly simple way to simulate the sound of an armed gunmen, but it turns out a similar technique can be used to mimic an entire army. 19:33.815 --> 19:40.543 [SPEAKER_00]: The sound effects in the 1960 epic Spartacus were created by Jack Foley, the namesake and inventor of Foley art. 19:40.744 --> 19:49.435 [SPEAKER_00]: Jack created lots of the techniques used in modern Foley, and when he was tasked with recreating the sound of this historic army, he reportedly pulled out his garkeys. 19:53.015 --> 20:01.744 [SPEAKER_00]: The metallic jangle of keys mimics the sound of jassling are surprisingly well, and the drums in the soundtrack sink up for a powerful rhythm. 20:02.124 --> 20:10.273 [SPEAKER_00]: Using your keys to mimic an army is ingenious, but sometimes the best ways to simulate the sounds of a giant object is to use an equally large prop. 20:17.815 --> 20:23.917 [SPEAKER_00]: In this scene, from Raiders of the Lost Ark, a giant boulder chases Indiana Jones while crashing through an ancient tomb. 20:24.217 --> 20:36.141 [SPEAKER_00]: Unfortunately, the sound designers didn't have a boulder on hand, so they were forced to recreate the sound by hauling a heavy lawn roller and a Honda station wagon to the top of a gravel hill, and letting them roll to the bottom. 20:36.461 --> 20:43.964 [SPEAKER_00]: Unsurprisingly, the sounds of these heavy objects rolling down a slope sounded a lot, like a boulder, providing the perfect audio for the scene. 20:44.653 --> 20:49.765 [SPEAKER_00]: Let's look at another Steven Spielberg movie, moving on to an alien who just wants to phone home. 20:57.096 --> 20:58.376 [SPEAKER_00]: While working on E.T. 20:58.416 --> 21:04.919 [SPEAKER_00]: Spielberg hired the fully artist Joan Rowe to make his alien sound, quote, liquidity and friendly. 21:05.259 --> 21:17.043 [SPEAKER_00]: After lots of experimentation, Rowe simulated the sound of the aliens movement by shaking some liver and popcorn in a plastic tub, and manipulating a T-shirt filled with gelo making sound similar to this. 21:22.111 --> 21:28.935 [SPEAKER_00]: Every time ET moves all three sounds are audible, then rows unique fully earned her two Oscars for sound design. 21:29.216 --> 21:34.719 [SPEAKER_00]: The thing, my mom always told me not to play with my food, that jello jiggle has made me hungry. 21:34.999 --> 21:38.601 [SPEAKER_00]: So let's explore how fully artists simulate the sound of fruit being eaten. 21:39.102 --> 21:47.487 [SPEAKER_00]: In nature documentaries, the camera is usually too far from wildlife to capture any real high quality sounds, and fully artists have to fill in all the audio. 21:53.635 --> 22:01.739 [SPEAKER_00]: That's right, whenever an animal eats on screen a fully artist like our old pal Stephan will snack on different foods to perfectly mimic their meal. 22:01.959 --> 22:04.760 [SPEAKER_00]: Letting them eat like a monkey, or a horse. 22:14.925 --> 22:21.008 [SPEAKER_00]: Let's move from eating food to cooking as we check out the sounds of delicious soup being cooked in Disney's Ratatoo 8. 22:26.830 --> 22:33.373 [SPEAKER_00]: As Remi, the rat brings this soup to boil, you probably think you're listening to herbs and vegetables bubbling away in a giant pan. 22:33.653 --> 22:38.615 [SPEAKER_00]: However, the sound yet just heard is actually me blowing into a glass of water with a straw. 22:46.986 --> 22:56.611 [SPEAKER_00]: As I make the water bubble, it's indistinguishable from the sound of Remy's soup, and this is exactly the method commonly used in Hollywood to create any bubbling liquid, from a witch's 23:07.632 --> 23:23.390 [SPEAKER_00]: Pull the artist also regularly work on scenes involving much larger bodies of water, sound designers don't usually get to take a trip to the beach to record these sounds as high and fully studios will often contain a large concrete pool to simulate sounds made in the sea or swimming pools. 23:29.773 --> 23:33.757 [SPEAKER_00]: Of course, the most common use of water in movies is simulating the sound of rain. 23:34.237 --> 23:42.004 [SPEAKER_00]: Sanaa Kelly of real, fully sound uses a watering can to mimic rainfall and she'll pour the water onto different materials depending on the scene. 23:47.269 --> 23:55.596 [SPEAKER_00]: If rain is falling on a car, she'll pour the water onto a sheet of metal, but if the scene changes, she could easily swap the metal out for another material like an umbrella, 24:00.095 --> 24:08.245 [SPEAKER_00]: If a fully artist wants to recreate the sound of rain without getting their hands wet, they can achieve a similar effect with a frying pan as demonstrated here by Charlie Cook. 24:15.307 --> 24:25.754 [SPEAKER_00]: Charlie specializes in finding new inventive ways to create sound effects and, with his breakfast solution, Charlie proves food can be used for effects that sound great and smell even better. 24:25.994 --> 24:32.178 [SPEAKER_00]: But if there's one place in cinema rank and usually be found, it's in the dark and stormy nights of one genre. 24:38.840 --> 24:48.504 [SPEAKER_00]: Sorry, 4 movies use a number of unique sound effects to terrify the audience, and one of the most iconic examples is a creaking floorboard and a on-and-house. 24:53.726 --> 25:00.288 [SPEAKER_00]: A professional Holy Studio will generally contain a panel of creaky wood that allows them to accurately recreate the effect. 25:09.712 --> 25:19.121 [SPEAKER_00]: However, if you don't have access to a fully studio, you can still recreate this sound at home by applying pressure across a balloon as demonstrated by Dutch Volley artist pools. 25:24.538 --> 25:32.207 [SPEAKER_00]: Let's stay on horror and move to a quiet place, a movie about blind aliens that listen for their prey with hypersensitive hearing. 25:32.587 --> 25:42.498 [SPEAKER_00]: The movie Sound Designers wanted to create an echo-location effect to simulate the monsters hearing senses, which they wanted to sound simultaneously electrical and fleshy. 25:42.699 --> 25:43.600 [SPEAKER_00]: Here's the sound. 25:47.090 --> 25:48.431 [SPEAKER_00]: And how did they pull it off? 25:48.591 --> 25:51.933 [SPEAKER_00]: Why by shocking a pile of grapes with a taser, of course? 25:52.253 --> 26:01.598 [SPEAKER_00]: The sound designer slowed the sound of the taser's electrical pulses down to emphasize the clicks of the taser, and it provided the perfect noise for the monsters at the location. 26:01.918 --> 26:05.160 [SPEAKER_00]: Anyone else feeling like these fully artists just get paid to mess around? 26:05.686 --> 26:11.688 [SPEAKER_00]: I mean, sign me up, but there can't be many jobs out there where electric hooting fruit is a daily occurrence. 26:12.088 --> 26:15.189 [SPEAKER_00]: Now thankfully some movie monsters are made in far simpler ways. 26:15.469 --> 26:23.912 [SPEAKER_00]: The 2021 epic movie Doom features an iconic, giant worm that swims underneath the sand on a desert planet and sucks in its prey. 26:28.754 --> 26:39.757 [SPEAKER_00]: way that the sandworm swallows is monstrous, but the sound it emerges with is actually a fully artist called Mark Mangini's sticking a microphone in his mouth, and sucking in huge amounts of air. 26:40.077 --> 26:48.159 [SPEAKER_00]: As the air passed right next to the mic, it made a loud roaring sound allowing Mike's very human mouth to create the perfect alien swallowing sound. 26:48.699 --> 26:50.860 [SPEAKER_00]: With some audio effects processing, of course. 26:51.240 --> 27:00.582 [SPEAKER_00]: Keeping on theme of giant alien creatures while developing the band she's an avatar, James Cameron instructed his sound team to create the strangest creatures ever seen in film. 27:08.185 --> 27:13.926 [SPEAKER_00]: The band she screams sound very alien, but it turns out they're composed of the hisses of young swans. 27:15.427 --> 27:16.687 [SPEAKER_00]: The heavy breathing of horses, 27:20.174 --> 27:22.134 [SPEAKER_00]: and various reptile hisses. 27:26.735 --> 27:33.577 [SPEAKER_00]: The resulting combo was a creature sound that couldn't possibly exist on Earth, but actually kind of already does. 27:33.877 --> 27:38.518 [SPEAKER_00]: By contrast, not all sci-fi and fantasy creatures are as large as Avatar's manchies. 27:43.372 --> 27:54.028 [SPEAKER_00]: While working on the fantasy movie, you're high-nessed, the legendaries to find Freda Shelley recreated the flutter of a fairy's wings by taking some dried seaweed and placing it against a spinning bicycle wheel. 27:59.193 --> 28:00.674 [SPEAKER_00]: Surprisingly elegant. 28:01.515 --> 28:06.719 [SPEAKER_00]: Whether it's creepy producers and terrible traffic, you don't want to spend too much time in Hollywood. 28:06.959 --> 28:13.705 [SPEAKER_00]: So, let's leave the movie business for a moment as I try to recreate the sounds of the world's best selling video game Minecraft. 28:19.184 --> 28:25.911 [SPEAKER_00]: Now that might sound like Steve Walker across some grass blocks, but it's actually the sound of me running a toothbrush over my jeans. 28:26.271 --> 28:27.833 [SPEAKER_00]: Another common folly method. 28:28.173 --> 28:30.716 [SPEAKER_00]: Here's the game's original sound effects compared. 28:37.923 --> 28:39.285 [SPEAKER_00]: Next, let's look at damage. 28:42.705 --> 28:46.908 [SPEAKER_00]: This sound is bound to strike fear into the heart of any Minecraft player in the battle. 28:47.068 --> 28:54.454 [SPEAKER_00]: Whack can be recreated by taking a full matchbox and hitting it repeatedly with a pen, like I did to create the sound you just heard. 28:59.017 --> 29:01.659 [SPEAKER_00]: Now that our health is low, we need to restore it with some food. 29:04.501 --> 29:09.465 [SPEAKER_00]: To make this sound, I simply used a knife to aggressively cut up some cheetos creating a loud crunch. 29:13.643 --> 29:15.905 [SPEAKER_00]: Once your health bar is full, you can go mining. 29:18.708 --> 29:23.493 [SPEAKER_00]: Breaking dirt blocks can be simulated by shaking some gravel and throwing it into a cardboard box. 29:31.240 --> 29:33.122 [SPEAKER_00]: A similar technique is used to break sand. 29:36.424 --> 29:44.350 [SPEAKER_00]: Re-creating this sound involves shaking gravel in a metal takeout container while digging, before quickly pulling a trash bag through your hands to break the block. 29:49.434 --> 29:53.397 [SPEAKER_00]: With those blocks mined, we can head back to our base and sit by the fire. 29:56.920 --> 30:04.426 [SPEAKER_00]: To make this warm sound effect, all you need to do is crinkle some bubble wrap, while separately popping some bubbles to simulate the crackling at the fire. 30:12.777 --> 30:14.878 [SPEAKER_00]: Who knew plastic could sound so cozy? 30:15.718 --> 30:20.719 [SPEAKER_00]: Alright, let's head back to Hollywood now and look at one of the most misleading sound effects used in film. 30:20.979 --> 30:26.801 [SPEAKER_00]: When you picture a bald eagle flying over the American wilderness, you probably imagine it's screeching like this. 30:30.762 --> 30:35.863 [SPEAKER_00]: It's iconic, just about as typically American is riding a mobility scooter around the Walmart. 30:36.023 --> 30:40.564 [SPEAKER_00]: But in reality, America's national avian symbol of strength and freedom actually sounds 30:46.688 --> 30:55.355 [SPEAKER_00]: This misconception was created during the early days of Hollywood when some unknown sound designer started replacing an eagle's chirps with the screech of a red-tailed hawk. 30:59.478 --> 31:11.468 [SPEAKER_00]: These sound designers decided that the hawks call was far more fitting for a powerful bird and modern movies will still use it whenever eagles are flying on screen, giving them the voice of a predator instead of a squeaky shopping cart. 31:15.775 --> 31:22.840 [SPEAKER_00]: From that bird impersonation to Tasia Graves, we've explored some of the weird and wonderful things that sound designers do to create sound effects. 31:23.160 --> 31:29.584 [SPEAKER_00]: So it seems right that we'd finished by looking at arguably the strangest thing a fully artist has ever done. 31:29.864 --> 31:36.989 [SPEAKER_00]: The lighthouse is a weird and wonderful psychological thriller from 2019 that follows two characters who repeatedly farted each other. 31:41.383 --> 31:51.190 [SPEAKER_00]: Sound editor Damian Volpi has been very secretive about the creation of the movie's Maddening Farts, but he's confirmed that his team created them practically in his studio. 31:51.450 --> 32:00.457 [SPEAKER_00]: Damian's lack of an explanation means that we can't be certain how the Farts were created, however, is shame about their creation as generated one popular theory. 32:00.747 --> 32:05.190 [SPEAKER_00]: The fully artist farted into a microphone and used the sound in a major Hollywood movie. 32:05.610 --> 32:06.991 [SPEAKER_00]: Ah, that beauty of cinema. 32:07.731 --> 32:08.391 [SPEAKER_00]: And see! 32:09.592 --> 32:14.175 [SPEAKER_00]: Thanks for listening to the podcast, we'll see you again next time you'll want to be amazed.