Photo by flickr user James Whatley. Used under Creative Commons license. Click image to view source.
Guest Contribution by Randy Thom
During pre-production on a film it’s common practice to gather lots and lots of still photographic images, and video as well, that might relate to the story. The stills are often displayed on walls for everyone preparing the film to see and talk about. It’s basically an “idea board.” The purpose of gathering these images is to stimulate thinking about the way the film should look, or about some other element of the story taking shape. Shots of potential locations for shooting, or locations evocative of those in the story, images of objects and props, shots of people similar to those in the story, animals, food, vehicles, landscapes, structures, etc. are compiled as concrete starting points of reference for constructing the look of the movie. Eventually a storyboard artist will draw images representing almost every shot in the film. It’s a way to help the filmmakers pre-visualize how each shot will be designed.
Image by flickr user woodleywonderworks. Used under Creative Commons license.
This article is not what I originally intended. I started it, nearly completed it and then decided to rewrite it from a different angle. It’s core subject remains intact, speaking to our collaborators…the people who hire us to make their pieces of media “sound good.” Whether we work in film, television, games, mobile applications, interactive art installations or any other existing or emerging medium, the majority of us work in service to another. Many a sound professional can be found lamenting the working situation they find themselves in; proclaiming, “ if only…”
The Carpetbagger, a New York Times blog dedicated to the film awards season we are now in the flush of, has spoken to Steve Boeddeker and Randy Thom at Skywalker Sound.
“Before there was a here here, I was here,” said Randy Thom, the director of sound design at Skywalker Sound, part of George Lucas’s Skywalker Ranch complex outside of San Francisco. “It used to be called Sprocket Systems, in the earliest days, and it became Skywalker Sound in the mid ’80s,” said Mr. Thom, who first worked with the company on “The Empire Strikes Back.”
Randy talks a little bit about the history of the Ranch and Skywalker Sound, and there’s a 5 minute video that includes interviews with both Steve and Randy.
Check it out here.
Sound designer and recordist Charles Mayne has written a passionate and inspiring guest post for the A Sound Effect blog. He gives his thoughts on the key notions and ideas that affects sound design, and which have the greatest capacity to produce – in his words – great sound design.
Check out the article here and contribute to the debate.
Guest Contriubtion by Randy Thom
Acoustic Authenticity Versus Entertainment Value
When designing a set for a film, the art director tries to use what is good about the real world place where the scene will be shot, but also tries to avoid being straight jacketed by what is there. The cinematographer usually has a similar approach in deciding what to shoot and how to shoot it. The director may want to put some local people in a scene, but they probably won’t be leading characters.
Sound design should be the same, I think. With the proliferation of multi-channel microphones in recent years, some with “5.1” channels and more, the promise of being able to capture and reproduce the aural sensation of being in a real place with three dimensional acoustics is definitely closer to being real…but is it desirable? I’d say the answer is usually “no.”