THE

ART

OF ED

ITIN

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MU

SI C

& S

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ND

ED

I TI N

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CLASS 7

S H A N N O N W A L S H / S M 2 0 0 2 / S P R I N G 2 0 1 4

S C H O O L O F C R E A T I V E M E D I A , C I T Y U N I V E R S I T Y H O N G K O N G

HISTORY OF SOUND IN FILM

DIEGETIC

Sounds that are visible on screen (voices of characters, sounds made by objects, music from things we see)

NON-DIEGETIC

Sounds that are not visible on screen (Narrator, music, sound effects outside narrative space)

DIEGETIC & NON-DIEGETIC

Sound Design in Star Wards Episode II

https://www.youtube.com/watch?v=5ogCVi0WqrQ

STAR WARS EPISODE II

THEORY OF SOUND

Sound is as key as Image – inaudible dialogue is unusable footage

Every place has a sound

• Background conversations & the particulars of place (birds, sirens, traffic lights)

• Sound library and building your own library

Tips & Tool of Sound Recording

• Atmospheric sound

• Tools of recording POV recording

• Room Tones/ Thumbprints/Balloons

• Mic placements, camera perspectives

What you can do in the mix & edit – what mixing can’t solve

• Location sound recordist

• Boom operator

• Folly artist

• Sound Editor

• Sound Mixer

• Music composer /Score

PRODUCTION & POST-PRODUCTION SOUND TEAM

• Location recording

• Sound stage

• Folley

• Re-recording

• Dialogue editing

• Sound design (sound library)

• Mix

• Mastering

STAGES IN SOUND PRODUCTION

In the Final Mix with my Sound Editor, Daniel Lagace & Mixer / Sound Engineer, Jean Paul Vialard at the National Film Board in Canada.

THE CONVERSATION

Walter Murch talks about the music score used during filming. (min 19:20)

APOCALYPSE NOW

Opening sequence

DOG DAY AFTERNOON