The 2019 School of Sound International Symposium

We are delighted to announce that the 13th School of Sound International Symposium will be held Wednesday – Saturday, 24 – 27 April 2019 at the Purcell Room, Southbank Centre, London.

Joining us as our sponsor for 2019 is Falmouth University.

Details of the 2019 programme will become available in the coming months. Registration opens 1 October 2018.

For information contact the School of Sound office,

[more about the School of Sound and Falmouth University]



Sponsored by

Open City Documentary Festival – The Work of René Farabet

At this year’s Open City Documentary Festival, In the Dark and Radio Atlas are straddling the intersection of audio and radio to host a very special presentation of a newly translated work by René Farabet – Words from Inside (St Maur Prison) – celebrating the legacy of a master of creative audio a year on from his passing. We will also have René Farabet’s partner, Kaye Mortley, present at the event to discuss his work and life. [more]


VFX Computer Graphics Conference

VIEW Conference is the premiere international event in Italy on Computer Graphics, Interactive Techniques, Digital Cinema, 2D/3D Animation, VR and AR, Gaming and VFX. VIEW 2017 will continue to focus on exploring the increasingly fluid boundary between real and digital worlds. Through lectures, meetings, tributes, exhibits, screenings and demo presentations VIEW will reveal the new digital frontier sweeping from cinema to architecture, from automotive design to advertisement, from medicine to videogames.

This year’s VIEW Conference features composer Hans Zimmer. [more]

Kino Otok Isola Cinema

6 – 10 June 2018
Isola, Slovenia

Editing and Sound Design at Slovenian Festival, Special Guest Paul Davies

This year’s Kino Otok – Isola International Film Festival, on the coast of Slovenia, puts a special emphasis on film sound and editing. The FOCUS event will feature masterclasses, case studies and exercises with British Sound Designer Paul Davies (You Were Never Really Here), director Rati Oneli (City of the Sun), Serbian Sound Designer Dragan von Petrovic (Aleksi) and Slovenian Sound Designer Julij Zornik (Comic Sans, The High Sun). [more]

Shanghai – Narrative Filmmaking Fundamentals

16 July – 10 August 2018
Shanghai, China

Introduction to Narrative Filmmaking

A four-week practical course teaching narrative filmmaking. Modules include directing, scriptwriting, cinematography, editing and sound recording/design.

More details to follow.

For information, email

NFTS Short Course – Sound Design

17 – 20 September 2018
National Film and Television School
Beaconsfield, UK

Introduction to Sound Design for Narrative Filmmaking

A 4-day practical workshop deconstructing the soundtrack, exploring how each component of sound expresses character, place and story, and how the practical application of these concepts positions the audience in relation to the screen and the narrative. The talks and exercises will help you become aware of how the soundtrack should be part of an organic collaboration of all aspects of a film production and allow you to re-evaluate the role of sound design in filmmaking. [more]

Sound Recording & Design for Film, Ouagadougou: 2-week workshop

3-18 February 2018
Institut Imagine
Ouagadougou, Burkina Faso

The School of Sound is working with Gaston Kaboré and his Institut Imagine in Ouagadougou in offering this 2-week workshop exploring sound techniques for narrative filmmaking.

The course will be taught by Rod Stoneman (previously Head of the Huston School of Film & Digital Media, NUI Galway), sound editor/designer Adele Fletcher and sound recordist/designer/mixer Philippe Ciompi.


Frontline Club Workshop: Sound in Documentary

Friday, 16 February 2018
10 AM – 5 PM

Frontline Club

Fiction filmmakers acknowledge that at least half the meaning of a scene, and often more, comes from the soundtrack. But the documentary soundtrack is often ignored, left as a technical aspect of post-production or caught up in debates about the differences between different styles of documentary production – observational, single-shooter, personal essay, reality, current affairs, and so on. So clearly there is a feeling that sound for something that has its basis in real life events must be different than that for fiction filmmaking. So, how should the documentary filmmaker work with sound?

Taught by Larry Sider.