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Posted by on Oct 9, 2014 | 0 comments

SoundWorks Collection – Leslie Ann Jones

In the latest offering from SoundWorks Collection, the spotlight is on Leslie Ann Jones, Director of Music and Scoring at Skywalker Sound. This 10-minute profile explores Jones’ musical roots and her 30-year career as a recording and mixing engineer.

Check out other SoundWorks Collection videos at: soundworkscollection.com

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Posted by on Apr 25, 2014 | 1 comment

SoundWorks Collection : The Sound of Transcendence

SoundWorks Collection have just released The Sound Of Transcendence an exclusive sound profile with the sound team behind Director Wally Pfister’s debut film Transcendence.

Featured interviews include Director Wally Pfister, Supervising Sound Editor Mark Mangini, Re-recording Mixer Terry Porter, Re-recording Mixer Jeremy Peirson, Dialogue and ADR Supervisor Byron Wilson, and Music Editor Erich Stratmann.

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Posted by on Jan 30, 2014 | 11 comments

Dialogue on the move – panning in Gravity, Cars and Strange Days

When I saw/heard Gravity last year it set me of on an exploration of dialogue panning to such an extent that I experimented with some fairly extreme panning in the film I was working on at the time. My experiment proved to be, well, inconclusive at best.  So I went back to Gravity to see just how the panning worked within the context of the film, then decided to look beyond it and discovered some interesting dialogue panning going on in Cars (2006) and Strange Days (1995) as well.

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Posted by on Jul 11, 2013 | 1 comment

From the SoundWorks Collection: Production Sound Mixer Nicholas Allen

An often over-looked part of the audio post process for sound designers can be the dialogue. This video from the SoundWorks Collection features production sound mixer Nicholas Allen explaining how he sets up his sound mix and his boom team. And in fact, more than just being concerned with dialogue, this clip is a useful reminder that sound design is about crafting and shaping the sound space – and that this can happen on set too.
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Posted by on Aug 29, 2012 | 4 comments

Ideas in Sound Design: Semiotics and Language – Part 2

Cross-posting from my personal blog.

In my last article, I talked about Semiotics and encouraged sound designers and editors to think of sound for picture as a language; or, at least, as a component of the language used by any given film. I’d rather not rehash the specific elements of Semiotics that were discussed. There are several ideas that I’m going to assume you’ve read and are familiar with as I proceed through this article. If you haven’t read that original article, I suggest you go do so now. The examples I’m about to discuss will have more meaning for you if you do.

I mentioned two possible approaches to applying signification in the development of a “sound language” for a project. The first is to work with existing signification, and the second is to develop your own; however, these do not have to be mutually exclusive. Both can contribute to your particular piece’s dialect. Remember that I am describing language as merely a “code” to convey meaning. So, meaning needs not be limited to ideas or thoughts. As such, let’s take a look at three examples of sonic code work, language, as used in moving picture.

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