Issue link: https://digital.copcomm.com/i/1470109
M OT I O N P I CTU R E S O U N D E D I TO R S I 51 WAVELENGTH: When did you first become interested in film sound? GRACE WONG: I first got to know about film sound in University where I was studying in Singapore for my BA degree in digital film- making at the School of Art, Design and Media in Nanyang Techno- logical University. I took an audio post-production class and while I found it interesting, back then I was set on being a production designer because I loved creating with my hands. While choosing one of my final year projects, I took on the role of sound designer on a sports documentary, featuring nation- al athletes. I had to recreate the soundscape for three sports: gym- nastics, synchronised swimming, and canoeing. I was doing Foley in the school's fountain pond at three o'clock in the morning and it was so much fun. Even though the process was challenging, I couldn't get enough of it. It was so satisfying and that film made me realise that I could create different soundscape worlds with only sound. WAVELENGTH: What and/or who was your inspiration, and who are your key role models? GW: GW: I oen get my inspiration for sound from the things around me. I've gotten into a habit of bringing my recorder around and just re- cording little things I hear that are unique and odd. You never really know when they might come in useful, so collecting recordings ex- cite me especially when I can put a little of my own recordings into the films I work on. I feel motivated and inspired by award-winning Singaporean sound designers such as Lim Ting Li and Lee Ai-Ling. In 2018, I attended a sound seminar by Ai Ling, host- ed by my mentor Ting. It was the second year into my sound career, and as I sat surrounded by profes- sional sound designers and editors, listening to Ai-Ling's sound tips Meet Grace Wong Verna Fields Award Winner Build Me Up