Beyond sonic realism: a cinematic sound approach in documentary 360° film

IF 0.5 0 FILM, RADIO, TELEVISION

Studies in Documentary Film Pub Date : 2022-03-10 DOI:10.1080/17503280.2022.2048234

Alicia Butterworth

{"title":"Beyond sonic realism: a cinematic sound approach in documentary 360° film","authors":"Alicia Butterworth","doi":"10.1080/17503280.2022.2048234","DOIUrl":null,"url":null,"abstract":"ABSTRACT Sound is often recognised as critical to the success of 360° film, but in a new medium fraught with technological challenges and time constraints, there is little research to guide sound designers in their creative practice. As practitioners engage with this new 360° format, the wisdom and techniques developed from decades of documentary sound practice promise more compelling viewing experiences; however, there are many differences between cinematic documentary and non-fiction 360° film. This article contributes towards a new language of sound for this medium by exploring the sound design approaches of four non-fiction 360° films that experiment with cinematic sound practices. The findings discussed were gained from interviews conducted with leading sound designers Tom Myers from Skywalker Sound (Collisions, 2016); Joel Douek (Under the Canopy, 2017); Roland Heap (My Africa, 2018); and Mike Lange, Michael Thomas and Heath Plumb (Inside Manus, 2017). The findings detail the benefits of including sound designers from the beginning of pre-production, the implications for sound recording, and the post-production considerations in the sound studio. The practice-centred guidelines presented in this paper can be used by sound designers, directors and screen educators in the creative design and development of 360° film soundscapes.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"156 - 173"},"PeriodicalIF":0.5000,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Studies in Documentary Film","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17503280.2022.2048234","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}

引用次数: 0

Abstract

ABSTRACT Sound is often recognised as critical to the success of 360° film, but in a new medium fraught with technological challenges and time constraints, there is little research to guide sound designers in their creative practice. As practitioners engage with this new 360° format, the wisdom and techniques developed from decades of documentary sound practice promise more compelling viewing experiences; however, there are many differences between cinematic documentary and non-fiction 360° film. This article contributes towards a new language of sound for this medium by exploring the sound design approaches of four non-fiction 360° films that experiment with cinematic sound practices. The findings discussed were gained from interviews conducted with leading sound designers Tom Myers from Skywalker Sound (Collisions, 2016); Joel Douek (Under the Canopy, 2017); Roland Heap (My Africa, 2018); and Mike Lange, Michael Thomas and Heath Plumb (Inside Manus, 2017). The findings detail the benefits of including sound designers from the beginning of pre-production, the implications for sound recording, and the post-production considerations in the sound studio. The practice-centred guidelines presented in this paper can be used by sound designers, directors and screen educators in the creative design and development of 360° film soundscapes.

查看原文本刊更多论文

超越声音现实主义:纪录片360°电影的电影声音方法

声音通常被认为是360°电影成功的关键，但在一个充满技术挑战和时间限制的新媒体中，很少有研究指导声音设计师的创作实践。随着从业者参与这种新的360°格式，从几十年的纪录片声音实践中发展出来的智慧和技术承诺更引人注目的观看体验;然而，电影纪录片和非虚构的360度电影有很多不同之处。本文通过探索四部尝试电影音效实践的非虚构360度电影的音效设计方法，为这一媒介创造了一种新的声音语言。本文所讨论的发现来自于对来自Skywalker sound(游戏邦:collision, 2016)的音效设计师Tom Myers的采访;Joel Douek (Under the Canopy, 2017);罗兰·希普(《我的非洲》，2018);以及迈克·兰格、迈克尔·托马斯和希斯·普拉姆(Inside Manus, 2017)。研究结果详细说明了从前期制作开始就聘请声音设计师的好处，对录音的影响，以及声音工作室后期制作的考虑。本文提出的以实践为中心的指导方针可以被声音设计师、导演和屏幕教育者用于360°电影声景的创意设计和开发。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文求助全文

来源期刊

Studies in Documentary Film FILM, RADIO, TELEVISION-

CiteScore

1.00

自引率

16.70%

发文量

期刊介绍： Studies in Documentary Film is the first refereed scholarly journal devoted to the history, theory, criticism and practice of documentary film. In recent years we have witnessed an increased visibility for documentary film through conferences, the success of general theatrical releases and the re-emergence of scholarship in documentary film studies. Studies in Documentary Film is a peer-reviewed journal.