SOUND DESIGN
PRODUCTION
can also flag up potential issues if involved early. “I can offer suggestions on what I believe is important and what effort may need to be taken to preserve performances are captured on set. If we can minimise our need for re-recording ADR lines for technical reasons, we’re setting ourselves up for success.” But much of the work will also have to
happen later in the process. Paula Fairfield says that for “the last bunch of years I’ve been working in the fantasy genre and that’s all tied to vfx, and the vfx chains have been very bogged down. I have to see where they’re going visually, so it’s sort of a delicate dance.”
Direct action Sound designers take their cues from the
project’s director or showrunner, but the trick is the interpretation of those discussions. “After having done an idea pass to the script or early lock, I will typically meet with the director and talk through the project in general terms first discussing overarching themes and ideas then go through in detail scene by scene,” says Halo’s Price. “I find it more constructive to have the conversation centred around the
I find it more constructive to have the conversation centred around the mood, feel or shape of the narrative
mood, feel or shape of the narrative. That’s more important than what sounds to use at this stage.” Markus Stemler says sessions with the
director are more about the “general feel” they’re after. “It’s less about whether to use carrots or beans, it’s more about whether it’s supposed to be sweet or sour or spicy.” Each director will want something
different from the sound designer. “It can range from an incredibly detailed sound spot through to being empowered to offer up a first pass of my interpretation for feedback,”
says Boom’s Walpole. At other times, the development of
the project’s sound can be an intensely cooperative process. “In the case of Rob Savage’s The Boogeyman, Rob and I were developing and refining the voice of the creature through the entire post production process,” says Formosa’s Gates. “We would talk, I would build something weird, Rob would come work with me for several hours, rinse and repeat.” Often, the sound designer will be left to
find the character themselves. “I start from scratch on everything,” says Paula Fairfield, particularly when creating creature sound. “I find something interesting and then stretch it and twist it and smash it with a whole bunch of sounds to then spit out this final creature that lives and breathes on its own. It’s an endless playground of exploration.”
Inspirational sound “Influences can come from anywhere and
it is always important to keep an open mind especially when experimenting with new sounds,” says Price. “It often starts with
Summer 2023
televisual.com 101
All Quiet on the Western Front
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