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Organic and free range sound design

Organic and free range sound design The all-encompassing term `sound design' originated in, and is synonymous with, movie production; although it is accepted as not being the sole province of Hollywood blockbusters - every self-respecting filmmaker these days will allocate at least modest resources under a budget-heading of sound design ­ does the producer actually understand what they're paying for? Is sound design merely the creation of a film's sound effects or room tones, or is it a figurative hand on the tiller of the complete soundtrack, steering and defining the mood of a motion picture, from first to end frame? And how does this quixotic phrase manifest itself in other moving picture media, less familiar with the use of the terms sound design or sound designer? Today's broadcast television, for instance, is routinely delivered in surround sound, so are there similar artistic and aesthetic, technical and technique implications for sound design to present itself, other than in feature films? It is no plot-spoiler to assume that my answer to that question is a resounding `Yes'. In this discussion I will draw on my thirty-something years as a sound practitioner in film and television to explain why sound design has become an integral and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

Organic and free range sound design

Hillman, Neil
The New Soundtrack , Volume 4 (2): 123 – Sep 1, 2014
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2014.0058
Publisher site
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Abstract

The all-encompassing term `sound design' originated in, and is synonymous with, movie production; although it is accepted as not being the sole province of Hollywood blockbusters - every self-respecting filmmaker these days will allocate at least modest resources under a budget-heading of sound design ­ does the producer actually understand what they're paying for? Is sound design merely the creation of a film's sound effects or room tones, or is it a figurative hand on the tiller of the complete soundtrack, steering and defining the mood of a motion picture, from first to end frame? And how does this quixotic phrase manifest itself in other moving picture media, less familiar with the use of the terms sound design or sound designer? Today's broadcast television, for instance, is routinely delivered in surround sound, so are there similar artistic and aesthetic, technical and technique implications for sound design to present itself, other than in feature films? It is no plot-spoiler to assume that my answer to that question is a resounding `Yes'. In this discussion I will draw on my thirty-something years as a sound practitioner in film and television to explain why sound design has become an integral and

Journal

The New Soundtrack – Edinburgh University Press

Published: Sep 1, 2014

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