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I was guided in the library by one of the sound technicians who had worked on the movie, very kindly and carefully explained to me, basically, that it was an unfinished reel that was going to go into a final reel. So we had about a week to complete the sound. During that time, I was given a lot of guidance in the library and the stunt guys and the make-up artists would come in and throw ideas at me and we would try and work out problems that came up. The library was filled with nearly every kind of trailer-show trope that you can think of in 1970s cinema. There was a library of cool guys in shades and sports shirts. There were Vietnam vets. There were guys with the perfect hair. There were guys with jobs connected with film in past lives. Guys in the library, with friends or the guys from the stunt department.
This movie’s overall sound is as definitive as anything you’ll ever hear in a film in that it feels like the sound was designed to be a full expression of what the movie was going for. You can hear the mood and the tone of each scene or of each scene in each scene. All the sounds, the ones that have clear titles, the ones with unclear titles, all the dialogue, the dialogue during the awesome fight scenes, all the things that were memorable or didn’t hold up or didn’t live up to our expectations of what a blockbuster movie should be, it all has that clarity. It all has that integrity. This film’s sound is like looking at a painting by way of audio. You don’t have to know what the painting is or what it’s supposed to be, this film’s sound is all of that.
The finite difference approximation is applied to estimate the moisture-dependent diffusion coefficient by utilizing test data of isothermal moisture desorption in northern red oak (Quercus rubra). The test data contain moisture distributions at discrete locations across the thickness of specimens, which coincides with the radial direction of northern red oak, and at... d2c66b5586