Quote:
Originally Posted by kol12
There is one institution here that appears to offer post production specific training for which I have enquired. The film and TV production course does look broad but it does let you choose to specialize in post production.
I appreciate your answer for needing to be around people in the business. Hopefully that will come. I think part of my question is what can I start doing at home myself now to get familiar with processes and techniques? I do not know yet when new training intake dates are and I would like to use the time I have to start learning something... I have Pro Tools installed my home machine and would really like to do something hands on that's constructive. I am finding the Pro Tools 101 eBook and Pro Tools documentation useful.
|
Most educational resources, and even institutional courses lack a lot of cohesiveness purely because of the nature of sound work. Making stuff that tells the story well and sounds great is all that matters. There are a million different ways to get to that destination. Everyone works differently.
I would suggest getting amongst it until you find something more formal like an internship or study. Reach out to other aspiring filmmakers and make stuff! Watch films. Learn about storytelling. Make, mix, sound design podcasts. Start trying to build a portfolio of work, and focus on improving it. Find fun film scenes, and set about sound designing them from scratch in different ways. Aim to make better stuff this week, than what you did last week. Realise that what you make today won't be anywhere near what you make in ten years. Be forgiving of your mess ups, but be entirely analytical and reflective on why it happened, and figure out ways so it doesn't happen again. The tools are only a fraction of the job. Listen. Listen. Listen. It is all that matters in the end. And it requires repetition to improve. Lots of repetition. Always ask what you could have done better. And that doesn't just mean the sound work. Film is a collaborative format. Listening to the ideas your collaborators have is equally important. Start small. Hit stumbling blocks. Ask questions. Find answers.
John Purcell has a good book on dialogue editing. It has a bunch of stuff about the history of film sound, which gives some good context on workflows. He also dives into his own dialogue editing techniques. And from memory it also includes a CD containing example dialogue editing sessions.