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My earliest childhood memories are filled with fun trips to the movies with my family and friends. I remember all the amazing sounds of light sabers, laser rays, and space explosions t hat made my heart race. I believed what I heard to be proof of the existence imaginary far off places, people, and things. The magic of those sounds and how they were created has fascinated me ever since. Now as an adult, I want to be a pro audio professional that creates those powerful memories for future generations of moviegoers. The roles that interest me in a pro audio career are focused around post production in television and motion picture studios.

Foley artists use props to add detailed sounds by acting out each scene of a TV show or film. That audio can include the crack of a twig being stepped on, a piece of paper being torn, rain drops in a puddle, and countless other details. Occasionally during filming, the recording of some sounds are missed, are required to be recorded, and added later by the Foley artist. Other sounds that might have been recorded during filming can lack the clarity or depth desired and are then replaced by the Foley artist’s recording.

The dialog recorded by the sound crew at the TV or film set is in it’s raw form. A dialog editor is needed to clean up the unwanted noises and to maintain or correct the ambient tones. Dealing with the sounds of wind, weather, and actors breathes are part of the critical job of the dialog editors. The audience needs the dialog to be clear and audible to be able to follow the characters in each story.

Musical editors help build the music soundtrack to help create the director’s feel and pace of the TV show or film. They work with composers to blend in their original work with the music already selected by the director for their project. The music timing must be in step with the corresponding visuals to connect viewers emotions and ensure they stay bound to the story elements.

Sound designers produce the sound ingredients that are needed to bring imagination to life on TV and Film. They will perform/produce, as well as edit existing music or recorded audio, to yield the desired audio wanted by the director on a project. While the Foley artist often works with making ordinary sounds, the sound designer sometimes must create a brand new sound to represent something on film. An alien baby crying, a monster breathing fire, or a tornado of sharks, must be created in a way that fits the tone of the production. The sounds most of the audience has not ever heard before must be made believable.

I hope to work as a Foley artist, a dialog editor, a musical editor, and eventually as a sound designer for TV and movies. I am a student at C. R. A. S. to learn the necessary skills to work in this industry. I want to make amazing sounds that inspire kids to believe the impossible.

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