Latest news with #soundDesign
Yahoo
04-07-2025
- Entertainment
- Yahoo
NYC Audiences Will Finally See ‘Twin Peaks' Season 3 the Way David Lynch Intended
It's one of the truly singular, transcendent, and masterful pieces of moving image art made this century, and this weekend New York City audiences will have the rare opportunity to see all 18 parts of David Lynch's 'Twin Peaks: The Return' on the big screen as part of MUBI and Metrograph's two-day marathon. Making the pilgrimage to New York is Dean Hurley, who was the re-recording mixer, supervising sound editor, and sound and music supervisor on 'Twin Peaks: The Return.' Appearing on the Filmmaker Toolkit podcast to discuss Lynch's use of sound and creative process, Hurley told IndieWire the marathon was more than an opportunity to see the series on the big screen. The Metrograph audience will also be the first to see the full version of the series, the way Lynch intended. More from IndieWire Brad Pitt Says Tom Cruise Dropped Out of 'Ford v. Ferrari' When He Realized He 'Would Not Be Driving That Much' Searching for the Ideal 4th of July Movie? Look No Further Than 'Drop Zone' 'It gets back to the whole, 'You may think you've seen the film, but you haven't,'' said Hurley, paraphrasing Lynch's iPhone rant that became an internet meme. 'These are the theatrical mixes and the one thing that I'm really excited about is this is the intention, this is how David mixed them, and this is how he experienced them.' Beyond his official titles, Hurley played a larger role in Lynch's creative life. The filmmaker hired Hurley in 2005 as engineer at his recording studio, a converted Hollywood Hills home he used as a 'Lost Highway' location. Hurley would become Lynch's jack-of-all-trades 'sound guy' who did everything from recording, mixing, session playing to post supervision and procuring instruments. Lynch preferred a DIY approach, working in the insular bubble of his studio. For Lynch, who took the sound designer credit on his films and 'Twin Peaks: The Return,' it is impossible to underestimate the importance sound played in all of his art. Sound was often the spark of emotional inspiration and his Hollywood Hills 'Asymetrical Studio' was a creative space where he spent a large portion of his waking hours. Lynch and Hurley recorded sounds used in 'The Return' a decade before scripts were completed. For example, Lynch had a library of recordings of electricity, which became a throughline across three seasons of 'Twin Peaks.' 'You might read electricity in [the script] and think, 'OK, I'm going to go out and record electricity,'' Hurley said on the podcast. 'But what David showed me is sounds in movies are exaggerated versions of themselves in real life… you jack them full of emotion, you make them larger than life when that sound carries that emotion, because we remember things differently.' Lynch preached to Hurley that at the heightened moments of our lives, we remember sound as louder and having far more impact than the reality. That's what the filmmaker wanted in his work. 'You need something that reaches into your caveman self, some primordial sound, that when you hear it your caveman self says, 'That's fucking dangerous,'' said Hurley. 'David loved volume, he loved extremes. His filmmaking could be summed up in extremes because he'll take an emotion and just jack it up to the nth degree, to this characterized version, a juiced up, steroidal version of that emotion, and especially with that atomic bomb sequence.' Hurley is, of course, referencing Part 8 of 'Twin Peaks: The Return,' one of the most celebrated episodes of television ever, in which an atomic bomb goes off. Hurley distinctly remembered working on Part 8 and Lynch yelling, ''Dean, jack this up to 11, I want to make ears bleed.' And I'm thinking, that's a major problem. This is a television show delivery system.' He and Lynch found themselves in paradox while mixing 'Twin Peaks: The Return.' 'The heartache on crafting one of his theatrical soundtracks is when you walk into a theater, it's what the director presents. If they want something super quiet and then they want to hit you over the head with a full-level, full-channel assault they can, and as an audience member you experience that as it's intended. Television is a different thing because you've got front-end compressors, treating the signal and squashing things into a band before they even go out.' Another major limitation is home speakers that make all of us theater managers able to adjust the decibel level with a click of our remotes. 'The power of the cinema and the standards of the presentation mode that was brought about with standards like THX, where you're tuning a room, it's playing at 85 decibels, you've got these giant crossover speakers with tweeter and fiberglass horns and 20-inch woofer, that has the potential to really move a ton of air in the theater,' said Hurley. 'And you can feel it physically, viscerally in a different way than on AirPods or a laptop speaker. I think that's what David was getting at with 'If you think you've seen it on the phone, it's a fucking joke.'' If you watch the video that inspired Lynch's famous meme, it's clear the filmmaker's rant stemmed from the deep 'sadness' Lynch felt about the delivery systems of how we experience his art. That sadness was something Lynch felt intensely while 'Twin Peaks: The Return' aired on Showtime, as it never had the emotional and physical impact of what Lynch felt in his studio. That frustration became anger while creating the 'nearfield' mix, the broadcast standard designed to limit sound for the home viewing experience. 'It was always hard for him because we would do mixes for things, [even] Criterion remasters, when he wanted to listen to them on his flat screen TV to see how they were playing,' said Hurley. 'He would get so emotional, like irate because he's like, 'The power isn't there.' And I'm like, 'It's there. Go in the studio and listen to it,' and it would verify that it's there. But a lot of these playback systems, it's exactly what he talked about with the phone. ' You think you're watching it,' but you can only watch so much coming out of two-inch cones.' After 'Twin Peaks: The Return' aired, Lynch instructed Hurley to create a theatrical mix for the full series. He previously created theatrical mixes for Parts 1 and 2 when they screened at the Cannes Film Festival. ''OK, Dean, go ahead, take the limiters off, put the mixes in a 85 decibel paradigm,'' Hurley remembered Lynch instructing. 'Because somebody said, I can't remember whether it was Sabrina [Sutherland], the producer, or David himself, 'Someday they're going to show these in a museum.'' Up until this weekend, beyond the Cannes premieres, Hurley said only Part 8 has screened publicly in its theatrical mix. Which is why the longtime collaborator, confidant, and friend is making the trip to New York for the marathon. 'This is what David was dreaming of when we did this mix,' said Hurley. 'This is how he experienced it while making it, and it'd make him happy it was finally being presented the way he intended.' Metrograph's two-day marathon of 'Twin Peaks: The Return' will take place July 5 and 6 to mark the 35th anniversary of 'Twin Peaks' Season 1. Dean Hurley will be in attendance to introduce the series for select showtimes and will also participate in a special pre-screening conversation. For more information, visit the Metrograph website. To listen to Dean Hurley's interview airing on July 10, subscribe to the Toolkit podcast on Apple, Spotify, or your favorite podcast platform. Best of IndieWire The Best Lesbian Movies Ever Made, from 'D.E.B.S.' and 'Carol' to 'Bound' and 'Pariah' The Best Thrillers Streaming on Netflix in June, from 'Vertigo' and 'Rear Window' to 'Emily the Criminal' All 12 Wes Anderson Movies, Ranked, from 'Bottle Rocket' to 'The Phoenician Scheme'
Geeky Gadgets
23-05-2025
- Entertainment
- Geeky Gadgets
Raytraced Audio : Lets You Hear Game Worlds Like Never Before
What if you could hear a game world as vividly as you see it? Imagine standing in a crumbling cathedral, where your footsteps echo off ancient stone walls, or creeping through a dense jungle, every rustle of leaves and distant bird call precisely placed around you. This isn't a dream of the distant future—it's the promise of raytraced audio, a new evolution in sound design that's poised to redefine gaming immersion. While ray tracing has transformed visuals with lifelike lighting and reflections, its application to audio is equally fantastic, allowing sound to behave with stunning realism. But does this innovation live up to its ambitious claims? In this exploration, Vercidium takes a closer look at the technology that could forever change how we connect with virtual worlds. Vercidium explain how raytraced audio works, the challenges it overcomes, and the unique benefits it brings to both players and developers. From realistic echo simulation to seamless transitions between indoor and outdoor soundscapes, this technology offers a level of auditory precision that traditional systems simply can't match. But it's not just about immersion—raytraced audio also introduces accessibility features that could reshape how games are experienced by players with hearing impairments. Whether you're a curious gamer or a sound design enthusiast, this deep dive into raytraced audio will reveal why it's more than just a technical upgrade—it's a glimpse into the future of interactive storytelling. Raytraced Audio Revolution The Challenges of 3D Audio in Gaming Creating realistic and immersive soundscapes in gaming has always been a complex challenge. Traditional audio systems often struggle to replicate how sound behaves in intricate environments. For example, you may have experienced difficulty pinpointing the direction of a sound source in a crowded or acoustically complex space. While binaural audio has improved spatial sound to some extent, it falls short when dealing with obstacles, reflective surfaces, and dynamic environmental changes. These limitations highlight the need for a more advanced solution—one that raytraced audio is uniquely equipped to provide. Raytraced audio addresses these challenges by offering a more accurate and dynamic representation of sound. It bridges the gap between what players hear and how sound behaves in real-world environments, creating a more immersive and believable auditory experience. How Raytraced Audio Works Raytraced audio operates by simulating how sound waves interact with environmental elements such as walls, doors, and objects. This process involves tracing the paths of sound waves as they travel, reflect, and dissipate within a virtual space. For instance: In an indoor setting, it models how thick walls block or muffle sound, while large rooms create distinct echoes and reverberations. In outdoor environments, it adjusts audio to reflect open spaces, barriers, or partial obstructions like fences or broken walls. It dynamically adapts to environmental changes, making sure that sound behaves naturally as players move through different areas. This precision allows for a more immersive and responsive game world, where sound feels alive and contextually accurate. By mimicking real-world acoustics, raytraced audio enhances the player's sense of presence and connection to the game environment. A First Look At Raytraced Audio Watch this video on YouTube. Below are more guides on Raytracing from our extensive range of articles. Realistic Echo Simulation One of the most impressive features of raytraced audio is its ability to simulate echoes with remarkable accuracy. Unlike traditional audio systems, which often rely on pre-recorded or generic sound effects, raytraced audio tailors echoes to the specific characteristics of the environment. For example: A shout in a narrow hallway produces a quick, sharp echo that fades rapidly. The same shout in a vast canyon results in a prolonged, rolling reverberation that reflects the openness of the space. The system also accounts for objects within the environment, such as furniture, vegetation, or other obstacles, which can absorb or reflect sound. This nuanced approach ensures that every auditory interaction feels natural and contextually appropriate, enhancing the overall realism of the game. Seamless Indoor and Outdoor Soundscapes Raytraced audio excels at creating seamless transitions between indoor and outdoor soundscapes, offering a cohesive auditory experience. Imagine standing near an open window in a game: You might hear the faint chirping of birds and rustling leaves from outside, while still perceiving the muffled hum of indoor appliances or distant conversations. Similarly, standing near a partially collapsed wall allows the audio to blend indoor echoes with outdoor ambient sounds, reflecting the partial barrier. This dynamic adaptability ensures that the sound environment feels consistent and believable, regardless of the player's location. By accurately simulating how sound transitions between spaces, raytraced audio enhances immersion and reinforces the realism of the game world. Accessibility Innovations for Deaf Players Raytraced audio is not only about immersion; it also introduces significant advancements in accessibility. For players who are deaf or hard of hearing, the technology visualizes sound through on-screen indicators. These visual cues—such as dots, waves, or directional arrows—represent the type, intensity, and direction of sounds in the game. Additionally: The system is highly customizable, allowing players to adjust visual indicators to suit their preferences, including options for colorblind accessibility. It ensures that all players, regardless of hearing ability, can engage with the game world on a deeper level, fostering inclusivity. This feature sets a new standard for accessibility in gaming, allowing a broader audience to experience and enjoy the intricacies of sound design in virtual environments. Performance and Hardware Compatibility Despite its advanced capabilities, raytraced audio is designed to run efficiently on a wide range of hardware. By using voxel grids and optimized algorithms for faster ray tracing, the system minimizes performance overhead. This ensures smooth gameplay even on older or mid-range devices. Key benefits include: Compatibility with casual gaming setups, making sure accessibility for players with standard hardware. Enhanced performance on high-end systems, allowing enthusiasts to fully experience the technology's potential. This broad compatibility ensures that raytraced audio is not limited to a niche audience but can be enjoyed by players across the gaming spectrum. Developers can integrate this technology without compromising performance, making it a practical choice for a variety of gaming projects. The Future of Raytraced Audio Raytraced audio is set to become a cornerstone of modern game design, offering tools and features that benefit both developers and players. It will be available as a paid plugin for major game engines, allowing seamless integration into new and existing projects. Early testing phases and community feedback will play a crucial role in refining the system, making sure it meets the diverse needs of gaming experiences. As adoption grows, raytraced audio is expected to set a new benchmark for sound design in interactive media, shaping the future of how games are experienced. By combining realism, accessibility, and performance, raytraced audio represents a significant leap forward in game sound technology. Whether you're a developer seeking to craft immersive soundscapes or a player looking for a richer auditory experience, this technology promises to redefine how sound is perceived in virtual environments. Media Credit: Vercidium Filed Under: Gaming News, Top News Latest Geeky Gadgets Deals Disclosure: Some of our articles include affiliate links. If you buy something through one of these links, Geeky Gadgets may earn an affiliate commission. Learn about our Disclosure Policy.
