Sound Design

-
What is Sound Design?

Sound helps create atmosphere, it creates a lot of tension. Sound Design sets a mood for the audience, in film and television is essentially describes the process of capturing, layering and mixing of individual sound elements to create one single soundtrack. Just as we shoot and edit the image part of the project, you also shoot and edit the sound part too.


Sound design occurs at all stages of a production, but it is essentially a post-production phase. The process is also called Sound Edit. Originally all of the sound editing of a film was complete by a sound editor or a team of sound editors, it was a very complicated process before the 1960s. In 1970s there was a demand for increasingly complex sound-tracks. The first film to credit someone with this new role was Apocalypse Now was Walter Murch. 


He was really taking the sound design on a whole different level. The job of the sound designer is to assemble a number of layers or tracks of sound, which are then mixed together to form one whole. On some productions there my be fifty tracks of sound. Most commonly there will be between 5-20 tracks.  There are about 7 different types of tracks;


Sync-This is the recorded sound form the shoot that is NOT dialogue. I.E someone walking across a room or getting into a car.

ADR-Automatic Dialogue Replacement. This is all the dialogue re-recorded or dubbed, after the shoot. Nearly all Hollywood films use ADR for the whole film.

Dialogue-This is all the recorded dialogue from the actual shoot. Voice-over would be on a separate track.

FX -Certain sound effects for elements such as car engine, a computer or an explosion. These will be recorded specifically for the production or more commonly they will come from a sound FX library.

Foley-These are sound effects that are created by individuals on a stage.

Atmos-These are all the sound elements that make up an atmosphere for a particular location.

Music -Is also used to create atmosphere and to really set the mood for the audience. Either the music is Diegetic/None Diegetic, we as an audience can really tell which of those is used. 

Comments

  1. SimonWelsford6 February 2017 at 05:06

    hey sonia - there is some good work in your journal. don't forget to be working on your contextual research into directors and drama etc. good work in your workshops!

    ReplyDelete

Post a Comment

Popular posts from this blog

Fiction Adaptation - Trespass - John Clare research

-
Image
While coming up with my proposal i really wanted to discover more about John Clare. John was born in 1793 and was a very famous poet, he was born as the son of a farm labourer and did not have much money. Many individuals state that Clare is 'the greatest labouring class poet that England has ever produced' since he came from a very poor background. While reading up on his background it was very hard, he had a troubled childhood and was also sent to an asylum where he had written most of his poems. I chose the Trespass poem due to me really having a strong connection to it. I feel as John Clare felt a lot of loneliness and pain during the time that this poem was written. The sonnet has rhyming couplets and seems less angry even though it is in-fact very sad. Clare really felt despair and pain while this poem was written. Clare was born into a middle class family and felt as he wanted to express these feelings within his other poems. I couldn't really find any informati...
Read more

As Live Production - TX and Final Rehersal

-
Image
Today was the day we were all preparing for! 'Steal the Style' went live! Everything egan shart at 9:00am, since the lighting and set team had to come in early to get started. Most of the work had to be completed way before the transmission hour which was 14:00. First thing me and George got to doing is setting up talkbacks and giving them out, these have an effective communication between everyone within the gallery and floor. Everyone was set and ready to go with final rehersals that started first thing in the morning, during these rehersals we were feeling confident. We were hitting our 30 minute mark and nothing had gone wrong. Everyone was ready our presenters, contributors, models, techs, first years etc. Both me and George had to make sure that all camer ops recieve a talkback and each one of us (Me, George, Jack) as the floor managers. We had a spare talkback which was given to Harvey Amiees sound assistant. We had one talkback that was broken and couldn...
Read more

As Live Production - First look into Studio Production (workshop)

-
Image
Today we had a very exciting workshop with Del, it was our first go at working in a real Studio Production atmosphere. We all had a go at different jobs such as Floor Managin, Sound, Directing, VT, Talent etc. We also had a go at playing around in the gallery and seeing what it takes to be a vocal Director. We all had a go and realised that when we go live all of us tone our voices down and really start to focus very strongly on what to say and what shot to play live. I had so much fun during this workshop but found out that most of the jobs are very difficult! Escpecially my own, being a floor manager comes with many different responsibilities. I realised that i had to really nail my 'Floor Manager' hand signals. I also found it difficult to manage the talent, Del told me that i had to be nexto each camera when live so that the talent can look at you and the correct camera. Me and George both decided to take care of one talent each - i would be in charge of Adeline and Georg...
Read more