It is only recently, with the recognition of sound design as a creative discipline worthy of inclusion in awards ceremonies, that critics have started to pay particular, if sometimes inaccurate, attention to our craft.
The following is a continuation of a discussion from You're Surrounded, Part One. I use surround in many ways to achieve different effects, to enhance atmosphere, to unnerve or frighten an audience, or to recreate a particular acoustic.
If you’ve been paying the least bit of attention to this series of ramblings, you’ll have realized that my formative years, aurally speaking, were in the late 1960s and early 1970s, a particularly rich period for innovation, both in terms of music and audio development.
Technical directors and prop masters live and die by their "Bag-O-Tricks." No matter how complicated the show is, there are usually one or two items that a resourceful technician can pull and/or modify from stock....More
Production and lighting designers Steve Lieberman and Seth Jackson discuss how to create engaging environments that suit the needs of the client; dealing with artists’ riders; fiscal responsibilities of a designer; and scaling creative from small festivals to massives....More