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Documentary workshop at the Frontline Club

The School of Sound announces a 2018 workshop at The Frontline Club

 

The School of Sound have announced their new workshop at the Frontline Club, a gathering place for journalists, photographers and other likeminded people interested in international affairs and independent journalism.

 

Strategies for Using Sound in Documentaries

Friday, 16 February 2018

10 AM – 5 PM

The Frontline Club, London

Standard £165
Freelance/Student £140
Members £115

*All tickets include a light lunch

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?

The way you consider and plan your use of sound – from pre-production through the final mix – determines how you and your production ‘speaks’ to your audience.

 

The workshop will include:

·       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.

 

Are you attending the workshop? Tell us what you’re looking forward to learning! 

 

About Larry Sider

Larry Sider is a film editor and sound designer who has worked extensively in animation and documentary. His credits include Street of Crocodiles and Institute Benjamenta by the Brothers Quay, London by Patrick Keiller, and Mirrormask by Dave McKean. He is Co-editor of The New Soundtrack journal and was Head of Post-Production at the National Film and Television School (Beaconsfield, UK) from 2002-2006. He is currently the Head of the MA Sound Recording, Post-Production and Design at Goldsmiths (University of London). He lectures in the UK and abroad.

 

LINKS

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Naila Malik
Naila graduated with a Master’s in Digital Game Design and Theory from Brunel University. As a game designer, Naila appreciates the complexities of combining game mechanics and sound design to create memorable experiences. A huge fan of Metal Gear Solid, she has a Foxhound tattoo on her back and you can find her humming the theme song whenever she’s sneaking in other games.

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