The ‘truth of sound’: exploring immersive location sound recording in realist filmmaking

Steve Whitford

Abstract

This piece focuses on the somewhat neglected (at least within scholarly circles) area of location-based sound recording, drawing much-needed critical attention to the intricacies and skills involved in location sound recording within realist filmmaking – both scripted and unscripted. Through my own practice-as-research, I aim to reimagine an ontological definition of location sound recording by proposing that a reinvigoration of the ‘realist’ genre can be achieved by connecting the storytelling skills of recording for single camera with the new opportunities afforded by immersive audio technologies – ambisonics here being a vital part of that development process. I demonstrate how use of such immersive audio technologies offer new creative opportunities for realist makers and audiences, based on the unique experience of geographical place and physical event that immersive audio delivers.

Original language	English
Publication status	Published - 24 Feb 2022
Event	BARN Colloquia: Realist Sound Recording and Comedic Soundscapes - Virtual Duration: 24 Feb 2022 → 24 Feb 2022 https://www.barnvirtual.com/programme-jan-mar22

Seminar

Seminar	BARN Colloquia: Realist Sound Recording and Comedic Soundscapes
Abbreviated title	BARN
Period	24/02/22 → 24/02/22
Internet address	https://www.barnvirtual.com/programme-jan-mar22

Access to Document

https://www.barnvirtual.com/programme-jan-mar22

Cite this

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title = "The {\textquoteleft}truth of sound{\textquoteright}: exploring immersive location sound recording in realist filmmaking",

abstract = "This piece focuses on the somewhat neglected (at least within scholarly circles) area of location-based sound recording, drawing much-needed critical attention to the intricacies and skills involved in location sound recording within realist filmmaking – both scripted and unscripted. Through my own practice-as-research, I aim to reimagine an ontological definition of location sound recording by proposing that a reinvigoration of the {\textquoteleft}realist{\textquoteright} genre can be achieved by connecting the storytelling skills of recording for single camera with the new opportunities afforded by immersive audio technologies – ambisonics here being a vital part of that development process. I demonstrate how use of such immersive audio technologies offer new creative opportunities for realist makers and audiences, based on the unique experience of geographical place and physical event that immersive audio delivers. ",

author = "Steve Whitford",

note = "Before joining the University of Portsmouth in 2010, Steve Whitford worked for over 25 years as a Sound Recordist in the Film/TV industry, specialising in Observational Documentaries, for international broadcasters. He won a Royal Television Society Award: Sound - Entertainment Non-Drama Production. Steve Whitford (Recipient), 1 Mar 2004 for “Fighting The War” - a BBC2 documentary series, where he was embedded with the Black Watch (7th Armoured) during the invasion of Iraq. Film Credits here: www.whitford.net. He now teaches Film Production practice at the University of Portsmouth having led curriculum change to include the embedding of professional/ industry experiences in curriculum, and to synergise practical and contextual elements. He has long standing memberships of industry bodies – Institute of Professional Sound and Association of Sound Designers - and has just been accepted into Association of Motion Picture Sound. He will lead a new MA for 2022: Creative Sound for Screen.; BARN Colloquia: Realist Sound Recording and Comedic Soundscapes, BARN ; Conference date: 24-02-2022 Through 24-02-2022",

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month = feb,

day = "24",

language = "English",

url = "https://www.barnvirtual.com/programme-jan-mar22",

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T2 - BARN Colloquia: Realist Sound Recording and Comedic Soundscapes

AU - Whitford, Steve

N1 - Before joining the University of Portsmouth in 2010, Steve Whitford worked for over 25 years as a Sound Recordist in the Film/TV industry, specialising in Observational Documentaries, for international broadcasters. He won a Royal Television Society Award: Sound - Entertainment Non-Drama Production. Steve Whitford (Recipient), 1 Mar 2004 for “Fighting The War” - a BBC2 documentary series, where he was embedded with the Black Watch (7th Armoured) during the invasion of Iraq. Film Credits here: www.whitford.net. He now teaches Film Production practice at the University of Portsmouth having led curriculum change to include the embedding of professional/ industry experiences in curriculum, and to synergise practical and contextual elements. He has long standing memberships of industry bodies – Institute of Professional Sound and Association of Sound Designers - and has just been accepted into Association of Motion Picture Sound. He will lead a new MA for 2022: Creative Sound for Screen.

PY - 2022/2/24

Y1 - 2022/2/24

N2 - This piece focuses on the somewhat neglected (at least within scholarly circles) area of location-based sound recording, drawing much-needed critical attention to the intricacies and skills involved in location sound recording within realist filmmaking – both scripted and unscripted. Through my own practice-as-research, I aim to reimagine an ontological definition of location sound recording by proposing that a reinvigoration of the ‘realist’ genre can be achieved by connecting the storytelling skills of recording for single camera with the new opportunities afforded by immersive audio technologies – ambisonics here being a vital part of that development process. I demonstrate how use of such immersive audio technologies offer new creative opportunities for realist makers and audiences, based on the unique experience of geographical place and physical event that immersive audio delivers.

AB - This piece focuses on the somewhat neglected (at least within scholarly circles) area of location-based sound recording, drawing much-needed critical attention to the intricacies and skills involved in location sound recording within realist filmmaking – both scripted and unscripted. Through my own practice-as-research, I aim to reimagine an ontological definition of location sound recording by proposing that a reinvigoration of the ‘realist’ genre can be achieved by connecting the storytelling skills of recording for single camera with the new opportunities afforded by immersive audio technologies – ambisonics here being a vital part of that development process. I demonstrate how use of such immersive audio technologies offer new creative opportunities for realist makers and audiences, based on the unique experience of geographical place and physical event that immersive audio delivers.

M3 - Abstract

Y2 - 24 February 2022 through 24 February 2022

ER -

The ‘truth of sound’: exploring immersive location sound recording in realist filmmaking

Abstract

Seminar

Access to Document

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Cite this