When the topic of restriction first came up I immeadiately thought of the Dogme 95 movement. It seemed like such an obvious response that I spent some time hunting around for another topic. Inevitably though I’ve come back to Dogme. Partly because it really is a great example of working under restriction, but also because the films created within the movement are so striking in their subversion of the restrictions placed on them. This also gave me the opportunity to revisit two films I enjoy immensely, Festen (1998) and It’s All About Love (2003); both directed by Thomas Vinterberg and written by Vinterberg and Mogens Rukov.Read More
From time to time, while working specifically on the audio portion of film projects (this is true for other mediums as well, though this month is focused on film), a sort of “tunnel vision” can occur and it is easy to overlook the importance of film as a complete artform and its impact on the world around us.
This month’s theme of Film Theory gives us all a chance to take a step back and review the purpose, power, and importance of film in our society. Also, this month serves as a great chance to reexamine and look deeper at what each of us sees as audio’s role(s) and importance within all genres of film.
We here at Designing Sound always encourage contributions from the community. If you would like to add your thoughts on Film Theory, please be in touch and let us know. As always, feel free to contribute to this month’s theme, or possibly next month’s topic is of more interest to you (which will be “Pure Sound Design”), or go completely off-topic. Anything is fair game. Please contact doron [@] this website and we will get the ball rolling.Read More
In my relatively short career, I’ve been fortunate to work in a variety of roles within different frameworks (freelancer, startup, in-house and a contract employee). Whilst we sometimes hear people discussing what specific roles are like, we don’t often hear about these different frameworks and how they compare. I thought it might be interesting to share my observations on what pros and cons I found in each of these frameworks. So whether you’re a student looking for your first opportunities or a seasoned pro looking to transition roles, I hope some of these insights prove useful.Read More
Unfortunately, the word restriction often carries with it a negative connotation. Though within the creative process, restrictions can be quite beneficial, and sometimes inspiring. As Belle Beth Cooper explains in her Buffer blog post, “What restrictions do is take away some of the choices available to us, and with them, the paralysis of choice that stops us from getting started.” We all have restrictions that somehow shape our work (from a simple self-imposed framework or template to budget constraints, and so on) and this month we want to explore some of these restrictions from the perspective of sound design.
We here at Designing Sound ALWAYS encourage contributions from the community. If you would like to throw in your “two-cents” on this topic, please be in touch and let us know. As always, feel free to contribute to this month’s theme, or maybe next month’s topic is of more interest to you (which will be “Film Theory”), or go completely off-topic. Anything is fair game. Please contact doron [@] this website to get the ball rolling.Read More
There’s a lot of things to like about Frozen. The animation is beautiful, the script is tight, the performances are great, and it even features a catchy tune or two. It’s also got some great sound. Check out the opening ice cutting sequence. It probably had whole cinemas ducking for cover in 3D but even in plain old 2D it works. The effects are great and when you get out from under the ice into the open air there’s that indefinable ‘softness’ to the soundstage that only happens in a snowy environment. And the film has a lot of it; ice, snow, crunchy, soft, cracking, and exploding and it all sounds just right. But my favourite thing about Frozen are some door knocks from right at the start.
It’s been long overdue, but we’ve finally updated the archive links to include the featured topics we’ve been running over the last few years. Just hover over the “Archives” tab in the menu bar above, and click on “Featured Topics.” Don’t forget that there’s a bunch of other cool stuff in the site archives, including links to the site’s previous feature system, “Featured Sound Designers.”Read More
GUEST CONTRIBUTION BY DALE CROWLEY
A few days after this interview with Steve Tibbo, he was nominated for the 6th time for a Primetime Emmy Award for Outstanding Sound Mixing for his work on ABC’s “Modern Family”, where he has been the production sound mixer on every episode other than the pilot. The episode that was nominated is called “Connection Lost“. We discuss this episode in detail and talk about this complex undertaking as well as many other topics ranging from his work on Modern Family to the gear he uses to record on set and on location, and we also delve into his work in re-recording mixing, ADR, and sound design for film and TV. This month’s theme is “Favorites” and “Modern Family” is my favorite TV Comedy and sound is my favorite subject.Read More
What is your favorite… sound design project? synthesizer? resource? application? story? piece of gear? technique?
This month’s theme is, to say the least, open to interpretation.
I am sure you know that feeling. The one you get when you come across something that is just too good to keep to yourself and you feel the need to share it with any colleague that will listen. We know that many times what inspires us may also inspire others, and there is nothing better than being able to share something that improves someone’s knowledge base, workflow, or creative process. That is why I know that when my colleagues want to tell me something, I am all ears.
Within our own (slightly insular) professional circles, we regularly share the best of what we currently use, read, and hear. This month, our goal is to broaden our circles and share some of the products, projects, and stories that are our current favorites, and also to hear about some of yours as well.
Care to share?
We here at Designing Sound ALWAYS encourage contributions from the community. If you have a favorite story, thought, or technique you’d like to share, let us know. Feel free to contribute to this month’s theme if you have a favorite to share, or maybe next month’s topic is of more interest to you (which will be “Restriction”), or go completely off-topic. Anything is fair game. Please contact doron [@] this website to get the ball rolling!Read More
For the last 6 months or so I’ve been an avid reader of Stephen Follow’s blog. I stumbled across it when I was looking for some ideas for a class I was teaching and I’ve been hooked ever since. Amongst other things Stephen writes about the business of making films and offers a tantalising glimpse into the murky world of budgets and film finance.
Beyond some of the more eye-opening content on there (Iron Man 3’s 3,310 strong crew for one) I was drawn to a few sound related stats e.g. the average size of sound departments and also the proportion of a £1 million film budget which is allocated for sound (£16,882 in this particular case). Clearly there’s nothing like a good stat to confuse the issue and a figure like this presented on its own means very little but it did get me thinking about the economies of film sound and for this month, the specifics of the business of Foley.Read More
The path we take in our careers can be a fairly winding one. It’s hard to predict exactly where you’re going to wind up. For instance, last year I found myself in the position where, while working as an independent sound designer after years as a staffer, I needed a team of people to help me complete a project by deadline. It’s not a bad position to be in. I like working, and having the ability (and, admittedly, necessity) to spread some of that work out amongst my peers felt good. There are two ways you can handle that on the billing side.
- Have those people bill your client directly.
- Bill your client once and and have your team invoice you for their work.
I chose the latter, and it presented an interesting situation when taxes rolled around. This article is to offer some of the key information I learned in the process. I’ll apologize to those people outside of the U.S., because this is going to be specific to the tax system here. There’s a tiny bit in here that might be useful to folks outside of this country I live in, but I won’t be offended if you skip this article.Read More