Sound issues

Harada was dissatisfied with the initial sound mix balance of "MIDORI", so he replaced the sound several times.

Harada had a professional technician replace the scene where MIDORI squeals on the white screen at the end in the editing room of the film developer.

The engineer warned Harada, "The sound you have newly created does not contain film noise. You may not be able to tell the difference in this small editing room, but you will notice the difference in the sound when it is screened in a large theater."
Harada was still weak in digital at the time, so he left that part as it was.
In 2004, the film was screened at a traditional large theater in Zagreb.
Just before MIDORI cried, "Wow," the noise in the soundtrack suddenly disappeared and it switched to true silence.
Harada realized, "I made a mistake. So this is what the engineer was warning me about."
However, the cherry blossoms stopped falling on the screen, the screen went completely white, and at the same time, it became completely silent, creating an unusual tension in the theater.
The sound switch matched the screen, creating an unexpected and surprising effect.

Before the screening, Harada always checks whether the sound is accurate by sitting in various positions in the theater.
The Zagreb Theater's projectionist was a first-class technician.
MIDORI plays Seazaer's music in the theater even before the audience enters (this is a technique from the days of Shuji Terayama's Tenjo Sajiki).
Harada asked the projectionist, "If there are many people in the audience, please turn up the volume."
The projectionist replied, "Of course I will. I always do that. The volume should be changed according to the number of people in the audience."
Harada was moved.
Normally, we should not comment on people's appearance or physical appearance. But let me touch on it a little.
Harada is very short.
The projectionist was as short as Harada.
Harada imagined, "Maybe it was this complex that led him to the world of film."
Harada wanted to talk more with the projectionist. But unfortunately, Harada could not speak either Croatian or English.

When Harada directed "BEM" in 2006, he saw a professional soundman layering a small hissing noise over the entire film.
Without underlying noise, digital sound ends up sounding too clear and mechanical.
Just like with the "analogization filters" I previously introduced in this blog, when it comes to sound, everyone is thinking the same thing.

Ever since video became digital, people have been figuring out how to recreate the natural, gentle image and sound quality of the analog era.

Even after Harada started producing music on a computer, he still records by connecting his instruments to the computer with a line, just like his old analog recordings.
As a result, there is a hissing noise recorded along with the music, which you probably wouldn't notice at first listen.
The hiss noise from cable recordings makes the sound softer, just like the magnetic tape recordings and records of the past.
To be honest, faint noise is always present in nature and around us in our lives.