Issue link: https://digital.copcomm.com/i/1401019
m ot ion p ictu re s o u n d e d i to r s I 43 of Sound of Sound The Queen's Gambit If sound editing isn't interesting, challenging, creative, provocative, or at times even outrageously sexy, then what is it? Opening Moves to End Game BY WYLIE STATEMAN MPSE Sound is an aural language used to intensify storytelling. At its best, it places an invisible hold on an audience, emotionally and intellectually. Sound can be used to change our way of thinking, our mood; it exists invisibly as memorable rhythms stuck in our heads. Sound can make us laugh, spur our fears, bring listeners to tears. Sound editing does contribute far beyond track synchronization. It helps to give all forms of media additional scope, spatial structure, and a third dimension, texture. Sound design in the broadest terms, is the art of bending and blending sonic vibrations to suit our will and of course, the storytelling needs of our fellow fi lmmakers. So, does the production of content really need a Sound Designer? It's not a new argument. Together, let's take a more in-depth look at the role of the Sound Designer. The Sound Designer can guide a diffi cult project from pre-production through fi lming, editorial all the way to its debut to the public. In the same way that a director of photography is responsible for the visual look, the sound designer is answerable to the director, editor, and producers, in charge of the sound.