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    You also tutor in sound and wildlife recording. Could you possibly give us your top tips for a successful wildlife recording?Mark Roberts : Use your ears! This seems like a daft thing to say, but it’s essential to really stop and listen before you start recording. Just moving around a small area can produce very different atmosphere recordings, so collect from as many different perspectives as you can. Just as the cameraperson will film several takes before they are completely happy, the same is true with sound. Often I will sit quietly, close my eyes and just listen, until the sound around me “feels” right. There might be too much wind in the trees or a noisy cicada spoiling the soundscape. Eventually there comes a moment when harmony occurs, and that’s the moment to start recording.When recording animal sounds, walk slowly and quietly towards the wildlife, and use the natural environment, e.g. trees and bushes, as a hide / blind. Once you’ve got as close as you dare, make a recording. I find it’s easier and more versatile to lightly hand-hold the microphone than fuss about with microphone stands, especially if the animal is on the move. Set an optimum recording level with the mixer / recorder and then keep your eyes on the animal, whilst “riding” the sound level gain pot by feel alone. Then move in closer and make another recording. It may take several attempts and considerable time to get close enough to make a good clean recording, but be patient and you’ll eventually get your reward. I often find myself working in remote parts of the planet with a small natural history film crew, sometimes for weeks on end. Whilst it’s essential to keep our equipment in good working order and gather the necessary the images and sounds, it’s even more important to get along with each other. Somehow, despite the long hours, basic living conditions, meager food and appalling weather, we all need to find a way to get on as a team. This means leaving our egoes behind and learning to compromise. There’s no point being a skilled sound recordist if no-one enjoys your company. I have been lucky enough to work with the BBC Natural History Unit for over fifteen years, to places as remote as Papua New Guinea, Guyana and Bhutan, and during that time it has been a privilege to work and learn from the very best natural history filmmakers, who all share the same love as I do for the natural world. If this kind of sound recording appeals to you, then embrace the wonders of nature and embark on an acoustic adventure into the wild.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.
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    What films would you recommend for people interested in learning more about sound design?Martin Hernández : I think that our favorite films are always those that achieve this coming-together, so the best way to appreciate this is through your favorite films, whatever they may be. And once you work on this you’ll understand ah! there was a piece of sound work; there was a piece of musical composition. That’s how you come to know interesting works, and the door opens because it’s your favorite film. Many of the films that I have loved don’t actually have great sound work. I love the general ambience in a film by Japanese director Nagisa Oshima, which is called Furyo or Merry Christmas Mr Lawrence (1983) and which is the story of a Japanese concentration camp during the Second World War, where they were holding British prisoners. There’s a really interesting relationship between David Bowie, who is one of the main actors, and Ryuichi Sakamoto, who apart from starring in the film was also its music composer. It’s a fantastic film and the music is incredible. Thanks to this film ‘el Negro’ and I became very good friends, because we were at school together, we worked together, and then we realized we had many tastes in common – we liked much of the same music and many of the same films. I’d been to see Furyo and he had too, he had the soundtrack and I didn’t, so he recorded it for me onto a cassette tape. We really admired Sakamoto’s music and the fact that he also acted in the film drove us crazy. Who knew that so many years later Sakamoto himself would give Alejandro a piece of music for Babel?So, Merry Christmas Mr. Lawrence is one of my favorite films. The sound work isn’t particularly special, but maybe that’s what makes it so efficient.To progress successfully into employment in today’s music industry takes a lot of hard work, focus, commitment and passion.Choosing to work in the music industry is not for everyone. It also requires a strong set of competent skills and a well developed ‘creative muscle’. We aim to support you in developing all of these areas during your time at DYNAMICS School of Audio Engineering .If you are passionate about building and developing your skills in sound engineering, music production, studio recording, mixing and remixing, mastering, listening skills, creative music technology, synthesis, sampling, creative process, collaboration and much much more, then you should definitely carry on reading.