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.Read More
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.Read More
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.Read More
The SoundWorks Collection is pleased to feature an exclusive behind-the-scenes feature about the sound and music of La Source. Narrated by Oscar nominated actor Don Cheadle, Directed and Produced by Patrick Shen, Co-Producer and Co-Cinematographer Brandon Vedder, Composer Matteo Messina (Juno, Thank you for Smoking, Up in the Air), and Re-recording Mixer and Sound Design by Steve Bessinger.
In La Source (pronounced lah-soos), Haiti water does not come easily. Each day, villagers of this small, rural community must choose between enduring a long, treacherous walk to retrieve clean water or drink contaminated water from a nearby river. For over 30 years, the villagers have attempted to address this problem by constructing a means of channeling the water from a natural spring in the mountains, but with limited funding and an unsupportive government their attempts to provide clean water were to no avail.
Since he was a teenager, Josue Lajeunesse, along with his brother Chrismedonne have dreamt of remedying this problem for their people. In 1989, Josue moved from La Source to New Jersey where he found employment as a custodian at Princeton University. His custodial work and second job as a taxi driver, which total close to 20 hours a day, allows him to send money home to La Source so that he and Chrismedonne, a bricklayer in La Source, could properly channel the water from the mountain into their village.
Our journey to La Source takes us on an adventure as the Lajeunesse Brothers work together to rally the support of a group of Princeton students, a Los Angeles-based charity called Generosity Water, and the people of La Source to fulfill their dream of improving the conditions of their impoverished village. La Source is not simply a movie about clean water and community transformation. It is a story of one man, empowered by a vision, who was able to ignite the passion of people thousands of miles away to change lives in La Source forever. Where water runs, life flows.