In fact the only interpersonal relationship explored was between Kevin Flynn and his son Sam. It wasn’t a hot one, nor could it have been and in retrospect it probably wasn’t a good idea to try. The original “TRON” had a love story between computer programs. In fact everything was laid back and I think purposefully so-but that doesn’t excuse the poor sound quality. The Light Cycles in the new movie were sonically far more laid back. We put a pair of microphones in the engine compartment and recorded to a Stellavox portable reel to reel recorder (similar to a Nagra) and I drove way too fast on Mulholland Drive down and upshifting. The Light Cycles in the original began sonic life as my Saab Sonett’s V-4 Ford engine. Back then it cost around $25,000 (which in today’s dollars is far higher). We had access to a Fairlight synthesizer, which was the first that could sample and play back “organic sounds”. All of these events were painstakingly created at a time when synthesizers were primitive. The giant aircraft carrier like ship that the evil Sark (David Warner) commanded had its own ominous, bass-heavy sound that would signal its appearance even before it arrived on screen. The original "TRON" had huge, spacious scene specific ambiences. For "TRON Legacy" the sound and visual was shattering glass. The "de-rezzing" sound that sound designer Frank Serafine and I created had dramatic consequence. It was muffled and lacking in intelligibility.īut beyond that, the sound effects were skimpy, mundane and lacking in imagination. I was shocked by how badly even the dialog sounded on the DTS HD Master audio track. In any case, compared to the original, "TRON Legacy" looked great, but it sounded awful-as if they ran out of money before post-production began. The trailblazing computer animation took forever to render and required buildings' worth of computers. No wonder the frame by frame registration was not perfect. The black and white footage was composited to VistaVision and blown up frame by frame and then backlit on an animation stand to produce the glowing characters. The process used to produce the original movie required all of the live action within the computer world to be shot in black and white. They were, I'm sure, what director Steve Lisberger saw in his head that back then simply could not be brought to the screen.Īll of "TRON" was originally shot in 65MM, 2, 2:1 aspect ratio. I watched it at home in 3D and of course the visuals were astonishing. I watched for the first time the other day "TRON Legacy" the sequel issued in 2010. Yes, it's a horrendous conflict of interest, I suppose, for me to be reviewing this double LP TRON soundtrack reissue since I originally supervised it, back in 1982, but I was there, so who better qualified to do it?
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