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creating sound for films

Initiated with Daniel Deshays, “Creating sound for films “ welcomes those wishing to discover the art of documentary filmmaking by questioning its sound form. From sound recording to mixing, from film screenings to exercises, this workshop explores the different ways of making sound for films and provides participants with practical sound-writing tools.

From September 11 to 22 2017, 2 weeks (70 hours), in Paris, France

Length : 2 weeks (70 hours), stretched over two sessions separated by an off-week dedicated to thinking things over and sound recording.
Public : documentary film directors, editors, sound operators, producers.
Admission requirements : to have written, directed or worked on one or several documentaries, in whatever context or production conditions.
Number of trainees : 10
Tutors : Daniel Deshays, sound operator, heads the Sound Department at ENSATT (Ecole Nationale Supérieure for Arts and Techniques of Theatre) in Lyon as he did for ten years at the Beaux-Arts School in Paris. He has worked for the movie and television industry collaborating with Chantal Akerman, Jean Michel Carré, Philippe Garrel, Agnès Jaoui, Robert Kramer, Robert Bober ou Robert Doisneau. Over the last 25 years, he has conceived and designed many sound creations and acoustic areas for museums. He has also produced and recorded the sound for 250 records. The other participants (sound operator, sound editor, filmmaker) as the other professionals invited for the last evaluation are all confirmed professionals and experienced teachers.

Part 1 : the issues of staging sound
In the morning, listening, film screenings and various analyses approach the theoretical aspect. The afternoon is dedicated to practical exercises directly linked to the theoretical questions brought up in the morning. Theoretical notions about sound : Bringing into existence conscious listening. Listening to audio excerpts, films without images, radio broadcast documentaries. Thought is given to :
The audio structure of a film ;
How do sounds overlap and co-exist ?
Voice-over : writing it and hearing it out loud.
Film analysis (fiction and documentaries) : Sound territories : sounds, voices, music.
Analysis of films chosen for the relevance of their sound form.
Practical and technical exercises :
The sources : nature, dynamic and movement.
Audio fields in sound taking.
Point of view and point of hearing ;
Density and separative power, the spectrum.
Film directing applied to voices, music, sounds and its issues. Teams working two by two do sound taking exercises without images at first and then with images. The accomplished work is presented collectively, listened to and debated over. Between the first and second week, the trainees are given a free week to elaborate a personal project and take sound on a theme.

Part 2 : Personal work
Using their own images, archival footage or material handed out by tutors, the trainees will make a sound writing proposal. During those weeks, trainees make sound recording exercises adapted to the selected images : direct sounds and designed sounds. Supervised by a sound editor, they’ll sort through their rushes and edit the recorded sounds. Coached by a sound mixer, the trainees will learn how to formulate their demands, combining sound staging choices to selected images. On the last day the work shall be screened and analyzed in front of invited professionals.

Goals :
To approach sound as a building element of filmmaking
To know about the different forms of sound-recording in cinema
To be aware of the different key moments in sound creation : from sound recording to mixing.
To be confronted with the issues of sound through practical exercises.
To provide practical tools to question the sound-recording (or writing) method at every stage of the filmmaking process.
To think anew about documentary filmmaking by questioning its sound form.

Teaching method : the training session alternates between theoretical teaching and practical and technical exercises. The whole spectrum of sound writing, from recording sound to mixing in an auditorium is introduced during this training session. Each trainee goes through the process of creating sound for images of his or her choice.


Admission requirements : Candidates must send in their résumé and a letter of motivation. The participants may also present an undergoing project (the project can be at any stage of advancement) or a project already written and shot. This optional document allows for professional participants to better assess the different worlds and therefore to do their best to meet up to the trainees expectations.
Cost : 3090 Euros VAT exclusive (3708 VAT inclusive)
Funding : Workshop funding :
Candidates may apply for a CIF- a vocational training leave (count 4 months for application processing) and receive funding from private or public institutions. here are a few examples : AFDAS, AFDAS, MEDIAFOR, FONGECIF, AUVICOM, UNIFORMATION, FAF.TT.

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