As sound editors, speaking about sound design with clients requires a kind of foreign language. I often find myself making silly noises in an effort to either interpret what a client is looking for or to pitch an idea of my own. There’s a shorthand however, that both editor and filmmaker are aware of. An entire language has been laid out for us in the incredible work of sound designers past. I’m talking about films that are ‘in the canon’ for having memorable sound design moments.
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The SiFi genre offers up so much creativity from a visual aspect but also opens up a lot of potential for cool sound design. This week, we will chat with sound editor Tess Fournier about a futuristic disintegration design she created.
All great editors start out as good editors. The hope is that you evolve as time passes, into an exceptional talent. I have seen it time and again here at Boom Box, often in very short order. An editor with lots of skill and professionalism decides to push for more. These great editors form our core team; the kind of editors you want to keep around. So what’s the secret? Well I’m happy to tell you that going from good sound editor to great sound editor is not that complicated.
The entertainment industry can be tough. There are many cliche's, such as "It's all about who you know" or "It's all about right place right time." Neither of which are entirely untrue. However, I am a firm believer that anyone with some raw talent and a whole lot of drive can build themselves a career in post production sound - or any entertainment job for that matter.
If I'm making it sound easy, my apologies. It's absolutely a ton of work. Let me repeat that: getting a job in a highly specialized, creative industry where you are in competition with literally thousands of applicants will always be a ton of work. So why do it?