Issue link: https://digital.copcomm.com/i/1401019
a deeper understanding of the why, the project's overarching mission, the project's unique and "novel intentions." Chess as a sport on face value could be thought of as having a narrow sonic design pallet. Scott Frank's script however, revealed a whole world of period locations with ample opportunities for texture, along with specific reference to transitional beats that will be driven by source music and/or sound design. By extracting sound-related notations from the shooting script, a condensed outline was compiled that contained only the descriptive information, character quirks, and the potential moments where visual or abstract practical visual effects might come into play. Early creative sound design ideas were beginning to take some shape, at least on paper. Roland Winke, the production mixer, was added to the team. We were ready to put the plan, technologies, and team into real- world practice. 2. During Production The company moved from New York to Toronto to Berlin. A shooting schedule of more than 82 days is not a simple feat. It can resemble a survival contest, pitting one priority against another. A battle of creative wills, company time, and ever-shrinking resources. The company's single-minded focus is directed at coordinating the essential production departments, making the dates, all while shooting the script. The Sound Designer's role during production is partly that of a lookout. This includes overlaying the script's sound-intensive action scenes with the shooting schedule and developing the framework for a weekly creative plan for sound. Such a framework will provide the production team with appropriate context in terms of sound, and a game plan for capturing on- set sound design elements. With an advanced understanding of the script, the proper team and technology, the sound crew can collaborate around a well understood big picture goal.