|What is the basic philosophy of sound design?
Today, big productions realized how they could push the: frontier of film making, thanks to computerizing they're visualizing: new ways to get rid off money problems. by tradition (thanks to our: nouvelle vague) french productions were specialized on "cheap productions": (with some exceptions) but, to my idea we've got a big delay with: the actual way to do it.: Advertising are a good way to experiment new technologies and new possibilities,: that's why french sound design companies are especially working on it.
But I think that we need to learn from people who's got the experience to: first, convince producers of the importance of sound design philosophy, and second to avoid to do mistakes which could increase our delay.
I ask you these questions:
- What is the basic philosophy of sound design?
- Do we have to built studios including foley artists, editors, sound effects, in the same company?
- Do we have to buy all sound effects libraries, or do we have to
make it by our own?
Sound Design is still a new term in the USA, as well as in France. And to be honest, there is very little agreement about what it means. Ben Burtt and Walter Murch brought the title
to our consciousness in the late 1970s, mostly through their work on (respectively) "Star Wars" and "Apocalypse Now."
In film and video there have always been people who "designed sound" in various ways. Composers obviously design sound. But production mixers design sound too. When a production mixer makes the decision to expend the enormous effort necessary to get useable tracks on location with mics on booms, rather than take the path of least resistance and put radio mics on the actors, he or she is making a sound design decision, and a very important one.
The term sound design is used most often to refer to the process of
fabricating "special" sound effects, whether the raw sounds for that process
come from new recordings, sounds from existing libraries, or a combination.
But that is only one small part of the larger vision Walter and Ben had
in mind when they did their groundbreaking work 25 years ago. Their
idea was that many films could benefit enormously from having a sort of
"Director Of Sound," with responsibilities somewhat analogous to that of
Most Directors have (because most film schools don't teach them otherwise) a fairly narrow view of what is possible in terms of using sound in their films. And those who have grand ideas about how sound might be used tend to have no idea how to bring those ideas into the reality of the film making process. They don't know how to allow sound to influence creative decisions in the other crafts. They too often verbalize their grand ideas in post production, when it's much too late to realize them fully.
So, sound winds up being a sort of decoration applied to a pre-determined
structure which was designed with little or no consciousness of how to
incorporate sound in the first
Because, like you, none of us is quite sure how to do it. But it's out
there to be done. There are vast areas to be explored in movie sound,
video sound, and computer sound.
Sound is NOT there to "help the visuals." That's kindergarten
film making. Anyone who says that "film is a visual medium" is being
foolish and naive. Sound, when given half a chance, is no less important
to the audience's experience than the pictures. And it doesn't
Read more about Randy thoughts in.. Designing A Movie
For Sound http://filmsound.studienet.org/articles/designing_for_sound.htm
Walter Murch (Apocalypse Now) just 'coined the phrase'. People are just afraid to use the term as they fear they may be laughed at because it's a fairly new term. The truth is, many of us sound professionals have been 'designing' sounds all along and may not have known it. The only problem is, however, the term has been applied too loosely (but there's no official criteria for using it).
My point is this: low budget or high budget a sound designer is only limited by his/her imagination. Another thing: it's wise to gather sound fx libraries as well as record your own. Not only can you manipulate the library sounds, but you can compare the acoustic information on them to any sounds you may create on your own.
P.S. I'm a sound fx designer in Canada who creates custom sound fx.
Edited excerpt from CAS Forum: This Thing Called Sound Design on May 31, 1998
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