Are you interested in sound design? What about sound design Sony Playstation? Senior Sound Designer Marc Farly is coming to Cogswell College to share his experiences and background, then open the floor to give students a chance to have their real world questions answered. Don’t miss it!
Posts Tagged ‘sound designer’
Crash, Bang, Boom, – Snap, Crackle, Pop – Slam, Bam, Shazam – Not only are these onomatopoetic, but also harmonic gold to sound designers and editors alike. Sounds often make or break video content, and knowing what works takes more than just a keen ear for detail. Sound designers combine the art and science of sound to create the perfect fit for television, film, and video game content.
Editor vs. Designer
Recently, the lines between a sound director and that of a sound editor have been blurred. The major difference being that a sound director is a glorified editor of sorts. A sound editor is responsible for the existing sound – i.e. editing of the dialogue syncing, and removal of extraneous background noise.
On larger budget productions a sound designer is brought in to not only oversee the work of the sound editors, but is also responsible for crafting new sounds – i.e. laser gun fights, cars exploding, tornado wind storms, etc. Sound designers are also responsible for creating the overall emotional atmosphere of the scene. What sound additions/subtractions would create more tension, suspense, or comedy?
Sound designers tend to work long hours with strict deadlines. Depending on a production’s budget, sound designers may start their work months in advance of filming. There is a large level of strategy and organization required in order to conceptualize the production in its entirety. A sound designer must forecast and plan out what sounds he or she will have to create, verses what can be shot organically.
A vast technical knowledge is required in order to digitally create, mix, edit, and distort sound. Sound effects are then layered into the production along with dialogue and music. On the flip side, a vast creative knowledge is also required for designers to fashion new sounds where one had not yet existed. Designers get innovative, and use everyday objects to create new sounds – i.e. crunching cellophane to imitate a fire crackling, or flexing a large sheet of aluminum to replicate thunder.
Sound design is a highly competitive area, and jobs are based on experience. Education is vital to develop an ear for detail. Interested in a career in sound editing or design? Check out Cogswell’s Digital Audio Technology program to develop and fine tune your skills!
As you listen to the sound of wind in the trees, the gentle burble of a nearby stream or the chirp of birds, you might physically be sitting in your living room but mentally you are far away. In this beautifully written article in Gamasutra by Sound Designer Damian Kastbauer, you are given the opportunity to take a look at his vision of the future of interactive audio experiences.
Sound has the ability to put us in a specific time and place associated with that sound. In the article he says, “I remain lost in thought as the sound of rushing water catches my memory. My mind is transported to a sunny day from my past. A reunion has brought family members together…”
The piece is an introduction to his Oxford Handbook of Interactive Audio (due 2014) in which he imagines the ability to synthesize the long-ago sounds of earth circa 2012 and the technology it took to get to this point. “It was during this time in simulation technology that our industry was just beginning to iron out inconsistencies inherent within the burgeoning field of procedural audio, synthesis, and the advanced manipulation of dynamic sound: baby steps toward the expansive fully realized simulation I’m testing today.”
Can you think of a time that sound has taken you to a different time and place?