Issue link: https://digital.copcomm.com/i/1475409
in a moving space and this gives great eff ects. This technique makes the ambiance more musical, especially when you are working on winds. It gives a very melodic feel, because in normal life, the sounds around you are never stagnant, it is always moving. Another thing I do, when I do ambiances, is that I select the scene I am working on, and put it on loop—as I audition sounds through Soundminer while looking at the scene in loop. I also will use pitch shifting for background layers, and later use noise reduction, not for its original use but when you try to use it after pitching, which can allow very interesting acoustics to come up… When I have time, I always like to hear the whole fi lm without the dialogues and the eff ects, only ambiances, room tones, and Foley. One last thing I would like to share is that when I directed my fi rst documentary, Panoptic, I was really confused during editing, I had a clear vision of the content but I felt that I couldn't feel the rhythm of the fi lm. The editor and I were really blocked. So I left the editor for few weeks, and I did the sound design for the whole fi lm, with no image. I worked on the spaces and the transitions. And then I put the sound on the image and that was really magic. Sound editor and re-recording mixer, Lama Sawaya, creating the sound of honey for the Macedonian documentary Honeyland by Tamara Kotevska and Ljubomir Stefanov. Footsteps on set by Foley artist Marita Sbeih. Creating additional car sounds with the DB Studios team for a Lebanese/Saudi fi lm, Route 10, by Omar Naim. The most important thing to me is the textures created by layers. Every scene becomes a composition with sounds. This way you can really work on the sound of the fi lm as a whole composition, it helps giving more musicality to the whole fi lm, and I discovered that it makes you appreciate the use of silence.