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
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.
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.
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.