Loading ...An Audio Report
An Audio Report by Aaron Soch, Sound Designer of Mind's Eye the Series.
At this stage in the development of Minds Eye, I collect the specific audio files for each scene that was created during the initial filming during the month of July 2010. In each file, there is usually a sound that I look for that can be aligned with its source in the video file. The sound is of a data board being hit with a marker. Once the video and audio is linked, I attempt to find natural sounds to smoothen out the various end cuts of audio that comes from the natural process of editing.
Sometimes between an actors lines, there is a pause, and that little pause is cut and used to patch holes in the audio, creating a seamless world that is part of the illusion of film making. At this point, the audio sounds good, but to give it the boost it needs to make it top notch, various enhancement sounds are added. This is a process called folying. The best known foley comes to us in the form of a flying kick or punch. Normally, in the natural world there is very little sound that comes from punching the air, but after a foley artist like me wants to give it power, a woosh or a swish is added. Everything above can be described as sound design.
The final stages of designing the sound of a film comes from equalization (taking away or bringing out audio frequencies), Mixing (making sure certain things are not too loud or quiet) and finally, Dynamic Processing, which is like trimming audio to make it even.
With a background in musical theory and composition, Aaron Soch joined Synn Studios team in 2007 with the intention to make the transition from recording his own music in a home studio to remaking himself as a professional music producer. Aaron found new opportunities working with Synn Studios and also found greater freedom to flex his creative muscles with new avenues in composition for film and television being opened up to him.
