Issue link: http://digital.copcomm.com/i/1279181
18 I M PS E . O R G SOU N D C H EC K Crafting Narrative: Field Recording I n the beginning, humankind's only method of storing and reproducing sounds was written characters that represented phonemes, orally recited. In our current times, most of the sound professionals I know rely on a sound effects library. But these libraries did not simply come into being with a snap of the fingers and a studio edict from on high. They had to crawl out of the primordial ooze, evolving as need and opportunity allowed. Foley artists, sound designers, and field recordists have been the principal contributors to the sonic palette integral to our cinematic language. Field recording sound effects typically receive less behind-the- scenes attention, perhaps due to the relative lack of immediate gratification that something like Foley facilitates, which has the benefit of instant playback to picture and the oft socially amusing physical realities that come with performing some cues. Although it might take more imagination for the layperson to appreciate the contributions that field recording will have while the recorder is rolling, it is still an integral part of a cinematic soundtrack. Unfortunately, due to scheduling constraints and budget priorities, field recording has become a privilege of only high-profile projects. Sometimes it can seem faster to just type some keywords into your SFX library and try to muscle through with what you have on hand, but this notion may be counterintuitively wasteful. It is often easier to drop in a custom recording crafted with a little bit of intent, a recording that just works, than it is to fight with whatever you have on hand in the edit bay and then again, on the mix stage. I run a relatively small operation, working on low-budget independent projects—mostly narrative features and shorts, with the occasional documentary thrown in for some spice. Serendipitously, I have managed to complete all the films that have come under my stewardship without the use of a publicly distributed general sound effects library. Instead, I have operated on the simple principle of recording any sound that I require as the need arises. This approach may be a little extreme for every project. If it is done well, it involves many hours of mastering and cataloging. But, developing your personal SFX library is an investment in your future that will outlast any piece of hardware. There certainly are exceptional cases where the logistics of capturing a particular sound renders you helplessly dependent on a boutique library to fill in the gaps. Not everyone has American bison roaming around in their backyard. That said, the narrative context in which a sound will be presented can create dramatic differences in your approach to recording it. A simple example. A character chops firewood with an axe. You need to go find yourself a tool of ancient origins, featuring a metal wedge affixed with an ash wood handle, with which you will fracture and split the skeletal structure of a deceased tree. From a purely technical perspective, we are BY COLIN LECHNER MPSE Unsuccessful attempt to record feasting fungi in a fallen tree.