Strategies for Using Sound in Documentaries
Friday, 16 February 2018
10 AM – 5 PM
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?
In the workshop we will cover:
· What a soundtrack is and how it’s made. What are the components you work with when recording, editing and mixing a documentary soundtrack?
· The relationships between pre-production, shooting and post-production in creating a soundtrack. How does the way you plan your shoot and spend your budget affect the soundtrack and, ultimately, how the audience perceives your ideas?
· The workflow from recording to mixing.
· The relationships between editing and sound design and between image, sound and music.
· How sound changes the audience’s perception of images.
· The variety of techniques for documentary sound including location recording, miking techniques, voice-over / narration, metaphorical sound, synchronous vs asynchronous sound, and the crossover between fiction and documentary sound styles.
· Consideration of the audience or client.
· The ethics of sound: What are we allowed to hear and what is kept silent?
Taught by Larry Sider.
For details and booking: https://www.frontlineclub.com/workshop-strategies-for-using-sound-in-documentaries/