This week we look at sound and music and their relationship to the film edit.

1. CLASS 7
SHANNON
W ALSH / SM2002
SCHOOL OF CREATIVE
HONG KONG
/ SPRING
MEDIA,
2014
CITY UNIVERSITY

2. HISTORY OF SOUND IN FILM

3. DIEGETIC & NON-DIEGETIC
DIEGETIC
Sounds that are visible on
screen (voices of
characters, sounds made by
objects, music from things we
see)
NON-DIEGETIC
Sounds that are not visible
on screen
(Narrator, music, sound
effects outside narrative
space)

4. STAR WARS EPISODE II
Sound Design in Star Wards Episode II
https://www.youtube.com/watch?v=5ogCVi0WqrQ

5. THEORY OF SOUND
Sound is as key as Image – inaudible dialogue is unusable footage
Every place has a sound
• Background conversations & the particulars of place (birds, sirens, traffic lights)
• Sound library and building your own library
Tips & Tool of Sound Recording
• Atmospheric sound
• Tools of recording POV recording
• Room Tones/ Thumbprints/Balloons
• Mic placements, camera perspectives
What you can do in the mix & edit – what mixing can’t solve

6. PRODUCTION &
POST-PRODUCTION
SOUND TEAM
•
Location sound
recordist
•
Boom operator
•
Folly artist
•
Sound Editor
•
Sound Mixer
•
Music composer /Score

7. STAGES IN SOUND PRODUCTION
•
•
•
•
•
•
•
•
Location recording
Sound stage
Folley
Re-recording
Dialogue editing
Sound design (sound
library)
Mix
Mastering

9. In the Final Mix with my Sound Editor, Daniel Lagace &
Mixer / Sound Engineer, Jean Paul Vialard
at the National Film Board in Canada.

10. THE CONVERSATION
Walter Murch talks about the music score used during filming. (min
19:20)

11. APOCALYPSE NOW
Opening sequence

12. DOG DAY AFTERNOON