#BLUE PLANET 2 AIR DATE TV#
The relentless sound of the cameraman breathing James says "would be like watching TV whilst sitting next to Darth Vader".Īlso, more and more underwater cameras have microphones and although the sound from them isn't always good enough to use it gives the foley team a very good idea what the animal or activity sounded like so they can make as faithful recreation of it as possible. However, it isn't possible to use natural sounds throughout. Take a look at the image at the top of the story, this was a 4.0 underwater hydrophone used by the Blue Planet 2 team to get some of the beds for the show.
#BLUE PLANET 2 AIR DATE PROFESSIONAL#
Surely, the most important component of the soundtrack is the natural sounds available – those that the professional sound recordists have captured? The Blue Planet II team have gone to great lengths to record a wide variety of sea creatures even working with scientists to reveal the dawn chorus of fish on a coral reef, for example. When we looked into recording sound at the bottom of the Mariana Trench for example, scientists told us that sound pollution from ship traffic can even reach all the way down there. In studying the BBC's rebuttal, one of the key challenges for recording sound underwater is that sound travels further and faster underwater – and that includes the noise of anything humans do. James Honeyborne, Executive Producer of Blue Planet II explains. He said: “They help convey the experience of ‘being there’ that is important for an immersive TV experience.” However, the show’s executive producer James Honeyborne insisted they were vital. There was only one line at the end of the article which was to take one little quote out of a BBC rebuttal to these kinds of stories and comments. Only downside to the amazing Blue Planet is those awful sound effects! Urgh! Please stop with these 1980s effects! Why do we have to suffer the ubiquitous music and sound effects? No need. Loving Blue Planet but the sound design is ridiculous. So far, and we have watched all four episodes released to date, we have not felt the need to reach for the remote control once.īut Blue Planet 2 is not just being criticised about the music, there are also complaints about the sound effects with headlines like " CRASH, BANG, SCALLOP Blue Planet II fans slam BBC’s ‘ridiculous’ choice of exaggerated sound effects" from The Sun newspaper. I felt that the music better dovetailed into the emotion of the story and added to the overall storytelling. I have to say that unlike Planet Earth 2, where we did have to reach for the remote control, Blue Planet 2 was fine. I long for the time when I can press a button and remove background music in documentaries. The music is also manipulative, making judgements on animals who are only doing what is natural and necessary for their survival. But what a pity that the programme suffers from inappropriate and intrusive music, which is so loud that it makes hearing the commentary at times almost impossible. The stunning sequences are a credit to the talented and dedicated camera operators and technicians who have used the new technology to amazing effect and, as usual, David Attenborough’s commentary is very informative and intelligent.
#BLUE PLANET 2 AIR DATE SERIES#
The new series of Blue Planet is impressive. An example of the comments is this one from Tony Lewis. The Radio Times is running a poll on whether Hans Zimmer's score is too loud and currently it is 74% saying it is too loud and 26% saying it is about right.
The BBC team used a TV rather than a music theatre or studio to review the final mix so they could understand how the natural history programme would sound in a family living room and set the narration, music and sound effects to the appropriate levels. However, there is an interesting quote that reinforces my point about mixes being too cinematic. Surely the use of a TV to check the mix is a routine process and not the stuff of news headlines, and to suggest that the programme was edited using a TV is at best misleading. The makers of Blue Planet II used a normal television while editing the soundtrack of the programme because of concerns that viewers would complain about the narration not being audible. The Guardian, in an article somewhat misleadingly titled Blue Planet II edited on normal TV set to head off sound complaints, has made a big point that. Looking at the issues regarding Blue Planet 2, let's start with the music. But is this a case of the press whipping it up or are there genuine criticisms here? At least it is not another case of Mumblegate, but the complaints are about the music volume being overwhelming and the foley effects being too loud and off-putting. Here especially in the UK, the sound mix for Blue Planet 2 has come under fire in the press and on social media.
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