Sound Designer
Sound Designers (previously known as Sound Effects Editors or Special Effects (SFX) Editors) are responsible for providing any required sounds to accompany screen action. Most Sound Designers are experienced Supervising Sound Editors who carry out a managerial role, steering the work of the entire sound post production process, combined with the specialist role of creating the sound concept for films. As well as creating the sounds for giant explosions or car crashes, Sound design is also the art of creating subtle sounds that enrich the language and feeling of a film.
Sound effects are added after filming, during the editing process, to give the film its sonic identity, e.g., location, period, or a particular mood. Creating, manipulating and positioning these sound effects are the responsibilities of Sound Designers. They may be employed by Audio Post Production Houses, or work on a freelance basis and dry-hire a room close to the picture Editor(s) providing their own Digital Audio Workstations. They are also likely to own their own recording equipment, e.g., DAT recorders or direct to hard-disc recorders and various microphones. Sound Designers work long hours to meet a demanding schedule of deadlines.
What is the job?
Depending on the film's budget, Sound Designers usually start work at the same time as the other Sound Editors; on a big effects film requiring a strong sound concept, this may be before shooting begins; on a modest budget production, it could be when picture lock is achieved (the Director and/or Executive Producer have given final approval of the picture edit).
Their first task is to identify the three main kinds of sound effects required: spot effects (gunshots, clocks, doors closing, dog barking, etc.), atmosphere effects, (rain, wind, traffic, birdsong, etc.), and sound design effects (dinosaurs, aliens, spaceships, computers, etc.) Once this sonic shopping list is complete, Sound Designers source different kinds of sounds, and often create and record original new material.
Time is spent enhancing or distorting these original recordings to create something new and interesting, using synthesizers, samplers and audio plug-ins, etc. This is a highly creative, experimental period for Sound Designers, who may create the roar of a dinosaur from a slowed down voice that is reversed, pitched up and has reverb added to it; other sounds could be also added (a tiger, a brake squeal or even a baby scream) to create a kind of sonic alchemy.
Sound Designers track lay all the sound effects on a Digital Audio Workstation (DAW), or a powerful computer loaded with dedicated software, working towards the Premix (when all disparities in the sound effects tracks are smoothed out, or cross faded, by the Re-Recording Mixer). This is followed by the Final Mix, when dialogues, ADR (Automated Dialogue Replacement), Foley, atmosphere, music and special effects tracks are seamlessly blended together. Because most Sound Designers are also Supervising Sound Editors, they usually oversee the "deliverables" - including the Music and Effects version of the film which allows the dialogue track to be replaced with different language versions.
Typical career routes
All Sound Designers start out as sound enthusiasts and have usually spent years recording and experimenting with everyday sounds before entering the industry. Since Sound Design is a highly competitive area, even the most highly qualified industry entrants must be prepared to start in junior roles. They usually progress from being Runners in Picture or Sound cutting rooms, or in Audio Post Production Facilities houses, to becoming Assistant Re-Recording Mixers or Assistant Sound Editors providing back-up to experienced Sound Editors.
Most Sound Designers are highly experienced, talented Sound Editors who have spent considerable time learning their craft. They may also have a background in music or may have learned their editing skills working in television production. Many Sound Designers are also Supervising Sound Editors, or Re-Recording Mixers.
Essential knowledge and skills
As well as a genuine enthusiasm for sound and film, Sound Designers must have a good understanding of acoustics, and an expert knowledge of sound recording and editing techniques (analogue and digital).
Key Skills include:
Excellent aural skills
Creativity and imagination
Ability to work conceptually
Excellent communication skills
Ability to work under pressure to tight, changing deadlines
Organisational and financial skills
Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
Competition to become a Sound Designer is increasingly high and even those entering the film industry at junior levels have a B.Mus (Tonmeister) or similar qualification. Many Sound Designers have also specialised in Film and Television Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers
Websites-
An invaluable resource for sound and film Film Sound
Sonic Arts Network sonic arts network
For innovations in sound recording technology zaxcom
The Institute of Broadcast Sound Institute of Broadcast Sound
The Association of Motion Picture Sound Association of Motion Picture Sound (AMPS)
The Association of Professional Recording Studios Association of Professional Recording Services (APRS)
The Audio Engineering Society, an US-based website with a thriving UK section Audio Engineering Society
Publications
Sound Design: The Expressive Power of Music, Voice and Sound Effects Cinema. Edited by David Sonnenschein (Michael Wiese Productions)
Film Sound by Elizabeth Weis and John Belton (Columbia University Press)
Audio-Vision : Sound on Screen by Michael Chion (Columbia University Press)
Sound on Sound magazine Sound on Sound
Music Tech magazine Music Tech Magazine
Audio Media magazine Audio Media Magazine
Sound effects are added after filming, during the editing process, to give the film its sonic identity, e.g., location, period, or a particular mood. Creating, manipulating and positioning these sound effects are the responsibilities of Sound Designers. They may be employed by Audio Post Production Houses, or work on a freelance basis and dry-hire a room close to the picture Editor(s) providing their own Digital Audio Workstations. They are also likely to own their own recording equipment, e.g., DAT recorders or direct to hard-disc recorders and various microphones. Sound Designers work long hours to meet a demanding schedule of deadlines.
What is the job?
Depending on the film's budget, Sound Designers usually start work at the same time as the other Sound Editors; on a big effects film requiring a strong sound concept, this may be before shooting begins; on a modest budget production, it could be when picture lock is achieved (the Director and/or Executive Producer have given final approval of the picture edit).
Their first task is to identify the three main kinds of sound effects required: spot effects (gunshots, clocks, doors closing, dog barking, etc.), atmosphere effects, (rain, wind, traffic, birdsong, etc.), and sound design effects (dinosaurs, aliens, spaceships, computers, etc.) Once this sonic shopping list is complete, Sound Designers source different kinds of sounds, and often create and record original new material.
Time is spent enhancing or distorting these original recordings to create something new and interesting, using synthesizers, samplers and audio plug-ins, etc. This is a highly creative, experimental period for Sound Designers, who may create the roar of a dinosaur from a slowed down voice that is reversed, pitched up and has reverb added to it; other sounds could be also added (a tiger, a brake squeal or even a baby scream) to create a kind of sonic alchemy.
Sound Designers track lay all the sound effects on a Digital Audio Workstation (DAW), or a powerful computer loaded with dedicated software, working towards the Premix (when all disparities in the sound effects tracks are smoothed out, or cross faded, by the Re-Recording Mixer). This is followed by the Final Mix, when dialogues, ADR (Automated Dialogue Replacement), Foley, atmosphere, music and special effects tracks are seamlessly blended together. Because most Sound Designers are also Supervising Sound Editors, they usually oversee the "deliverables" - including the Music and Effects version of the film which allows the dialogue track to be replaced with different language versions.
Typical career routes
All Sound Designers start out as sound enthusiasts and have usually spent years recording and experimenting with everyday sounds before entering the industry. Since Sound Design is a highly competitive area, even the most highly qualified industry entrants must be prepared to start in junior roles. They usually progress from being Runners in Picture or Sound cutting rooms, or in Audio Post Production Facilities houses, to becoming Assistant Re-Recording Mixers or Assistant Sound Editors providing back-up to experienced Sound Editors.
Most Sound Designers are highly experienced, talented Sound Editors who have spent considerable time learning their craft. They may also have a background in music or may have learned their editing skills working in television production. Many Sound Designers are also Supervising Sound Editors, or Re-Recording Mixers.
Essential knowledge and skills
As well as a genuine enthusiasm for sound and film, Sound Designers must have a good understanding of acoustics, and an expert knowledge of sound recording and editing techniques (analogue and digital).
Key Skills include:
Excellent aural skills
Creativity and imagination
Ability to work conceptually
Excellent communication skills
Ability to work under pressure to tight, changing deadlines
Organisational and financial skills
Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
Competition to become a Sound Designer is increasingly high and even those entering the film industry at junior levels have a B.Mus (Tonmeister) or similar qualification. Many Sound Designers have also specialised in Film and Television Sound at post-graduate level. Sound is one of the best served areas for film and television training in the UK with provision ranging from specialised short courses, to qualifications at HND, BA and post graduate levels.
Individual course accreditation in certain subject areas is currently being piloted. As part of Skillset's and the UK Film Council's Film Skills Strategy, A Bigger Future, a network of Screen Academies and a Film Business Academy have been approved as centres of excellence in education and training for film. For more information, please log onto the Skillset website.
Where to go for more information
Skillset is the Sector Skills Council for the Audio Visual Industries. The first sources of information for all jobs in the industry are the National Occupational Standards. For information about training, links to the Skillset network of training partners, and access to the comprehensive Skillset/BFI course database, visit the website www.skillset.org. Skillset Careers is the UK's only specialist media careers advice service; for detailed media careers information and advice, visit the website www.skillset.org/careers
Websites-
An invaluable resource for sound and film Film Sound
Sonic Arts Network sonic arts network
For innovations in sound recording technology zaxcom
The Institute of Broadcast Sound Institute of Broadcast Sound
The Association of Motion Picture Sound Association of Motion Picture Sound (AMPS)
The Association of Professional Recording Studios Association of Professional Recording Services (APRS)
The Audio Engineering Society, an US-based website with a thriving UK section Audio Engineering Society
Publications
Sound Design: The Expressive Power of Music, Voice and Sound Effects Cinema. Edited by David Sonnenschein (Michael Wiese Productions)
Film Sound by Elizabeth Weis and John Belton (Columbia University Press)
Audio-Vision : Sound on Screen by Michael Chion (Columbia University Press)
Sound on Sound magazine Sound on Sound
Music Tech magazine Music Tech Magazine
Audio Media magazine Audio Media Magazine
