Sound for Film

 In Audio in the Know

My name is Paul Schreve and I entered the audio industry back in 2003 in South Africa. I had the opportunity to attend school in Cape Town before moving to Canada in 2008. I started working at The Beach Audio in 2009 and have had the privilege to be part of some amazing projects in all aspects of sound ranging from music to sound for film. Every project brings its own rewards and challenges keeping it fresh and interesting. Currently I am the Supervising Sound Editor at The Beach, which means I am responsible for all the audio post production requirements for projects. I also create and supervise the majority of the post production projects for the students at APRA. So it is only fitting that this is where I will kick off my portion of the blog.

“Sound is 50% of a film.” This quote from George Lucas has held true since sound was integrated into the film experience. Sound is the reason we can believe a dinosaur from Jurassic Park exists or that Mjolnir from the Marvel films is unliftable by anybody unworthy.

Sound for film consists of a few different disciplines to help tell the story, namely Dialogue, Foley, Sound Effects and Music. All of these disciplines play a pivotal role in creating the sonic cinematic landscape, helping to tell the story.

Cinematic sound is the imitation of reality, not reality. It allows us to take liberties in how we shape the listening experience. For example, in Indiana Jones the sound designer made Indies gun sound more in line with a cannon. This makes the sound more noticeable and we are very aware that it is our hero who shot the gun.

In the end, the sound needs to serve the film and bring forward the storytelling and visuals. Most post audio engineers agree if the viewer can walk out of the film not having noticed the sound, it is a success.

My future posts will delve deeper into sound for film so be sure to check back every Tuesday!


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