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Well, given the advances in Artificial Intelligence, I genuinely believe the time will come when an A.I. machine can “watch” a film, just like we do, and separate the music from the dialogue and effects, and enhance it to improve the dynamics, and turn in back into stereo, and maybe even repair harsh cuts.
Why?
Because we can do it in our heads. I can watch a film and I can mentally separate the music and enhance it in my head. I just can't get what I can do in my head out of my head and on to a disc.
However, what human beings can do in their heads, Artificial Intelligence will be able to do, but with one advantage: we'll be able to make it so it CAN get it out of its head.
And if the first attempt isn't quite right, we'll be able to give feedback that will help it improve.
Maybe such machines will be able to learn the habits of a composer by listening to a lot of his or her music, and use that learning to make the process work even better.
Don't underestimate A.I. It's getting really amazing. I've seen a demo of YouTube's AI and it can work out what any uploaded video is about just by “watching” it. It can figure out who is in the video. If there's a film clip in the video, it can recognize what film it is form. If there's music clip in the video, it can recognize what it is.
So even if some scoring masters are lost forever, I see a day coming when we can get great transfers off of fully mixed films.
Imagine being able to get something like On Dangerous Ground or Bride Of Frankenstein, sounding like it was recorded yesterday, just by giving it the film.
I'm telling ya, it's going to become possible.
Cheers
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Well, given the advances in Artificial Intelligence, I genuinely believe the time will come when an A.I. machine can “watch” a film, just like we do, and separate the music from the dialogue and effects, and enhance it to improve the dynamics, and turn in back into stereo, and maybe even repair harsh cuts.
Why?
Because we can do it in our heads. I can watch a film and I can mentally separate the music and enhance it in my head. I just can't get what I can do in my head out of my head and on to a disc.
However, what human beings can do in their heads, Artificial Intelligence will be able to do, but with one advantage: we'll be able to make it so it CAN get it out of its head.
And if the first attempt isn't quite right, we'll be able to give feedback that will help it improve.
Maybe such machines will be able to learn the habits of a composer by listening to a lot of his or her music, and use that learning to make the process work even better.
Don't underestimate A.I. It's getting really amazing. I've seen a demo of YouTube's AI and it can work out what any uploaded video is about just by “watching” it. It can figure out who is in the video. If there's a film clip in the video, it can recognize what film it is form. If there's music clip in the video, it can recognize what it is.
So even if some scoring masters are lost forever, I see a day coming when we can get great transfers off of fully mixed films.
Imagine being able to get something like On Dangerous Ground or Bride Of Frankenstein, sounding like it was recorded yesterday, just by giving it the film.
I'm telling ya, it's going to become possible.
Cheers
Wouldn't it be easier lower The Atlantic?
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Posted: |
Jul 14, 2021 - 2:48 PM
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By: |
Col. Flagg
(Member)
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Well, given the advances in Artificial Intelligence, I genuinely believe the time will come when an A.I. machine can “watch” a film, just like we do, and separate the music from the dialogue and effects, and enhance it to improve the dynamics, and turn in back into stereo, and maybe even repair harsh cuts.
Why?
Because we can do it in our heads. I can watch a film and I can mentally separate the music and enhance it in my head. I just can't get what I can do in my head out of my head and on to a disc.
However, what human beings can do in their heads, Artificial Intelligence will be able to do, but with one advantage: we'll be able to make it so it CAN get it out of its head.
And if the first attempt isn't quite right, we'll be able to give feedback that will help it improve.
Maybe such machines will be able to learn the habits of a composer by listening to a lot of his or her music, and use that learning to make the process work even better.
Don't underestimate A.I. It's getting really amazing. I've seen a demo of YouTube's AI and it can work out what any uploaded video is about just by “watching” it. It can figure out who is in the video. If there's a film clip in the video, it can recognize what film it is form. If there's music clip in the video, it can recognize what it is.
So even if some scoring masters are lost forever, I see a day coming when we can get great transfers off of fully mixed films.
Imagine being able to get something like On Dangerous Ground or Bride Of Frankenstein, sounding like it was recorded yesterday, just by giving it the film.
I'm telling ya, it's going to become possible.
Cheers
They're actually much further along than you think, Stephen:
https://www.izotope.com/en/learn/isolate-a-vocal-with-music-rebalance-in-rx-7.html
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Was anyone ever able to verify if the suite on the Blu-ray did indeed have clean music, or was it from the music-and-effects track?
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What titles are you missing?
Are you including LPs not on CD, such as Man in the Middle, Inside Moves? And non-soundtracks like Americans?
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For The Knack get the Quartet. This score is top echelon Barry, as is The Last Valley. For that one, get both the original album and the Silva re-record. the original album tracks are the best--and the album presentation can't be beat, but the re-record offers several outstanding cues not on the album.
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Posted: |
Mar 10, 2022 - 2:44 PM
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By: |
TheAvenger
(Member)
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I think most people who've dealt with Mrs. Barry have found her to be valiantly protective of JB's legacy and that's as much about what you don't assist with as what you do.
She could be charming. I spoke with her the night JB won the BAFTA lifetime achievement award and she was absolutely lovely and charming with me; and she enthusiastically gave me the email address I should use if I ever wanted to ask any questions for anything I wanted to write.
(This is when I still submitted articles to Soundtrack! and Music From The Movies.)
But she could also be a bit suspicious and distrusting, especially of fans.
Anyway, the main reason for my assertion is this:
One time, I asked her if Barry had retained any of his written scores and whether they'd ever be available for study like, for instance, Bernard Herrmann's scores. I was told very bluntly that John's scores were absolutely private and would never be made available, to anyone, for any purpose or project, ever.
It was the most absolute "No, never!" I've heard in my life.
I simply assume that would apply as much to JB's recordings as his written scores, and other people have told me they've experienced something similar.
I'm pretty confident if you rang her up and asked, "Hey, I'm one of John's fans. Would you be willing to lend out John's copy of Raise The Titanic so someone can put an official release out," you'd get told, "Absolutely no way."
(Along with, "How did you get this number? Don't ever call this number again.")
If it was a big-wig from, say, Sony asking, it might be a different story.
It might even be a different story if it was a fan label that has built a strong reputation.
But not you or me.
One might ask, "But surely she wants all John's music out."
And the answer to that is, actually probably not.
Even Jerry Goldsmith didn't want all his music out there, just the music he thought burnished his reputation.
I honestly don't know what Mr. and Mrs. Barry felt about Raise The Titanic. A reliable friend told me once that Barry considered it "not that good". Then again, like all flawed humans, Barry could also be inconsistent and I remember him speaking fondly on the music when the flag gets raised on the resurrected Titanic.
I honestly don't know for sure how they really felt about it, probably mixed feelings given it was such a notorious failure, but in terms of protecting his legacy, my guess is she wants people talking about Out Of Africa and Dances With Wolves, not Raise The Titanic.
I think Barry himself would have been more open to help get it out, even if he did think it wasn't that good, but I think Mrs. Barry is more ruthless than Barry himself was about managing what people get access to—and I'm sure she's doing it from the best of intentions, frustrating though it may be to us fans.
Anyway, the main reason for my assertion is her statement to me about his scores being private.
Cheers
Hard to understand how a score to a major motion picture - or at least an attempt at one (Raise The Titanic is NOT a good movie) can be considered private.
Sorry, but Mrs Barry sounds a bit of a loon.
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Follow Me, a wonderful and vastly underrated score, has not seen a CD release, other than on Harkit. The good news is that it sounds very good--the original LP on Japanese Universal has exceptional sound, which has carried over to the Harkit.
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