Esan Myers: Audio post-production, sound designer and sound editor in Washington, D. C..

This is a long video but it is broken down with timestamps. Sound Design is SOOO Interesting!

https://youtu.be/J1SRFZo2IXI

Happy Sunday morning Stage 32 Community coming at you from Fort Myers Florida. I wanted to share this article about what many of us face from time to time; especially starting out in sound design. This was written from the perspective of a game audio composer/sound designer, but this can also translate to film projects.

There is one aspect of this article that I do not follow, and that is #5. "Reduced scope" meaning if the client can't afford your full rate, then you do half the work. I would never do this. Why? Because my name is attached to the product. I never half-ass anything I do no matter if it is half of what I normally charge.

What you gain from sticking to your guns is continual experience in your craft, and a happy client that may return to you when they have a much bigger budget. They see you were willing to take a cut to put in your all as a creative. Nonetheless, this article is very informative, and worth reading all 7 alternatives.

https://www.asoundeffect.com/7-alternatives-to-working-for-free/

Who can relate? :) :)

https://www.youtube.com/watch?v=H5iPBaZqG7Q

We almost always compose and deliver 2 or more cues. So the question here is how do you do it? There are two solutions as far as I know (though suggest others if you have done this differently).

1. One large WAV file with all the cues with spacing (no audio) between each cue for synchronization. The WAV must be put at the beginning of the film (i.e., 0h0m0s).

2. One WAV file for each cue along with instructions for each cue exactly where the file/cue/wav file starts.

Since I work often with filmmakers/directors who often have little to no experience with composers, multiple files for cues are too risky for a delivery option. I have even had one experience where the file was put starting at 0h0m30s and the film was released before I heard what they did. Needless to say that didn't sound very good :)

There is one 'issue' with option 1. If you deliver a soundtrack/wav file and the film is changed, for example, they add a scene or delete a scene. How do you want the modifications done to the soundtrack? For deletion, either you or the sound editor can delete the music (or empty space) for the deleted scene. For insertion, you need to add space and optionally write a cue and then resynchronize (possibly depending on how you do it) all the cues which follow (or at least the next one). For option 2, for deletion, you don't do anything, the sound editor merely deletes the cues/files you have for the deleted scene. For insertion, you deliver a new cue or cues and none of the other files are modified.

So I always (so far) go with option 1 - easy instructions (just create an audio track and add the file at 0h0m0s of that track), least likely to be error prone.

What has been your preferences and experiences?

Hi everyone, my name is Esan Myers. I am a composer/ engineer that can handle many aspects of your post production sound. I have worked on a variety of projects with a range of budgets. My focus is to deliver professional audio for your project that is on time.

If you are interested in checking out some clips of my work, please go to my website. (working progress...)

www.esantheproducer.com

I would love to connect with filmmakers to create compelling works of art.

Hi Esan. I'm RB, Founder and CEO of Stage 32. As a screenwriter, producer, actor and filmmaker, I know first-hand the challenges all creatives face finding work, landing representation, launching projects, securing funding and simply making the connections that will make a difference in their careers. That's why I created Stage 32. Since our launch in September of 2011, the community has grown to 1,000,000+ members representing every country on the planet making Stage 32 the social network uniquely populated with the most creative people on Earth.

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Hello Esan -

Welcome to the community! I'm Amanda Toney, the Managing Director at Stage 32. Since 2013 I've been proud to oversee Stage 32's Next Level Education, which provides you the most up-to-date tools necessary to become a better creative.

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