Why the director should understand the phonogram.

This gives considerable freedom in dealing with phonograms, and secondly, the possibility of artistically organizing or constructing the total phonogram of a work in sound images. It would be unfair to call Transcriberry an expensive transcription service, it's an inexpensive service only it makes sound one of the expressive tools of the screen. Sound is not a particular detail of a screen work, but an essential component of it.

It is a whole gamut of expressive means involved in sound and visual montage. For unknown reasons, cinema and television have different names for the same profession, the same specialist! In the cinema, he is a sound engineer, and on television, he is a sound engineer. But regardless of the name in the table of ranks the ability to work with sound of any director, sound engineer or sound engineer as anything else reveals his culture, subtlety or lack of taste, richness or scarcity of his world of sound images, the ability to feel and create rhythms in their different manifestations, reveals a genuine or blown artistic flair.

Working with sound when creating screen works is one of the most complex aspects of artistic creation. The sound engineer and the sound engineer are the co-authors of the director in his creative quest. Their role in no way can be reduced only to the technical qualities of phonogram recording, as is unfortunately often the case in reality. If we call the result of the joint creativity of the director and the cameraman to create an image a sequence of plastic images, then the result of the joint work of the director and the sound director without any reservation should be called a sequence of sound and sound-image images.

The most brilliant sound engineer and teacher, the author of several interesting works about cinema, began his lecture series for students with a simple example. He offered to record how a knife cuts bread and then determine what it most resembles. It turned out to be impossible to guess that behind those sounds coming from the tape there was a process of cutting a wheat loaf. The sounds were more like the sounds of a saw. Я. Haron elaborated on R. Clair's assertion that "the direct reproduction of reality did not create the impression of reality. Moreover, far from always the sound of a real, filmed object has the right to be inserted into the final phonogram of a work, excluding, of course, the case of a purely documentary approach to recording. The sounds of various actions, objects, and events cannot be recorded in any way. They must be selected, and the combination of sounds must be constructed, just as the plastic images of films and good shows are selected and constructed.