ABSTRACT

Sound is often recognised as critical to the success of 360° film, but in a new medium fraught with technological challenges and time constraints, there is little research to guide sound designers in their creative practice. As practitioners engage with this new 360° format, the wisdom and techniques developed from decades of documentary sound practice promise more compelling viewing experiences; however, there are many differences between cinematic documentary and non-fiction 360° film. This article contributes towards a new language of sound for this medium by exploring the sound design approaches of four non-fiction 360° films that experiment with cinematic sound practices. The findings discussed were gained from interviews conducted with leading sound designers Tom Myers from Skywalker Sound (Collisions, 2016); Joel Douek (Under the Canopy, 2017); Roland Heap (My Africa, 2018); and Mike Lange, Michael Thomas and Heath Plumb (Inside Manus, 2017). The findings detail the benefits of including sound designers from the beginning of pre-production, the implications for sound recording, and the post-production considerations in the sound studio. The practice-centred guidelines presented in this paper can be used by sound designers, directors and screen educators in the creative design and development of 360° film soundscapes.

摘要

声音通常被认为是 360° 电影成功的关键，但在充满技术挑战和时间限制的新媒体中，很少有研究可以指导声音设计师的创作实践。当从业者参与到这种新的 360° 格式中时，从数十年的纪录片声音实践中发展出来的智慧和技术保证了更加引人入胜的观看体验；但是，电影纪录片和非小说 360° 电影之间存在许多差异。本文通过探索四部尝试电影声音实践的非小说 360° 电影的声音设计方法，为这种媒体提供一种新的声音语言。讨论的结果来自对 Skywalker Sound 的领先音响设计师 Tom Myers 的采访（碰撞，2016); Joel Douek（在树冠下， 2017）；Roland Heap（我的非洲， 2018 年）；和 Mike Lange、Michael Thomas 和 Heath Plumb（Inside Manus，2017 年）。调查结果详细说明了从前期制作开始就包括声音设计师的好处、对录音的影响以及声音工作室的后期制作注意事项。本文提出的以实践为中心的指南可供声音设计师、导演和屏幕教育工作者在 360° 电影音景的创意设计和开发中使用。