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{{short description|Sound director, Head of a sound department}} | {{short description|Sound director, Head of a sound department}} | ||
The '''director of audiography''' | The '''director of audiography''' ('''DA'''), within Indian-style [[filmmaking]],<ref>[http://filmsound.org/india/ The Culture-Specific Use of Sound in Indian Cinema (1999)]</ref> known elsewhere as a '''sound director''', is the head of the sound department and the person responsible for planning the [[audiography]] and managing the audiographers of a film. | ||
==Overview== | |||
The title is not used professionally in most of the world. The role of audiographer and the title "director of audiography" derives from [[Bollywood]]-style filmmaking in India, where it is an established title credit.<ref>[https://www.imdb.com/title/tt0254967/fullcredits#cast Appu Chesi Pappu Koodu (1958)]</ref><ref>[https://www.imdb.com/title/tt0276628/combined Yehi Hai Zindagi (1977)]</ref><ref>[https://www.imdb.com/title/tt0120456/fullcredits#cast Virasat (1997)]</ref><ref>[https://www.imdb.com/title/tt0991346/fullcredits#cast Bhoothnath (2008)]</ref> | The title is not used professionally in most of the world. The role of audiographer and the title "director of audiography" derives from [[Bollywood]]-style filmmaking in India, where it is an established title credit.<ref>[https://www.imdb.com/title/tt0254967/fullcredits#cast Appu Chesi Pappu Koodu (1958)]</ref><ref>[https://www.imdb.com/title/tt0276628/combined Yehi Hai Zindagi (1977)]</ref><ref>[https://www.imdb.com/title/tt0120456/fullcredits#cast Virasat (1997)]</ref><ref>[https://www.imdb.com/title/tt0991346/fullcredits#cast Bhoothnath (2008)]</ref> | ||
The DA works to carry out the [[Film director|director's]] vision, identifies the tasks necessary to realize this vision, budgets for those tasks and coordinates all the work from pre-production to post-production whilst keeping an eye on overall sound quality. | The DA works to carry out the [[Film director|director's]] vision, identifies the tasks necessary to realize this vision, budgets for those tasks and coordinates all the work from pre-production to post-production whilst keeping an eye on overall sound quality. | ||
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In the early days of the Hollywood [[studio system]], every studio had a sound director (SD)<ref>''The Lost Sound Director'' (page 35) in ''The Practical Art of Motion Picture Sound'' by David Lewis Yewdall, M.P.S.E., Focal Press (1999).</ref> or a recording director (RD), who headed the sound department and took sole credit for the work done by a large crew of sound technicians. | In the early days of the Hollywood [[studio system]], every studio had a sound director (SD)<ref>''The Lost Sound Director'' (page 35) in ''The Practical Art of Motion Picture Sound'' by David Lewis Yewdall, M.P.S.E., Focal Press (1999).</ref> or a recording director (RD), who headed the sound department and took sole credit for the work done by a large crew of sound technicians. | ||
<ref>''Sound-On-Film'' by Vincent LoBrutto (1994)</ref> | <ref>''Sound-On-Film'' by Vincent LoBrutto (1994)</ref> | ||
<ref>[http://www.filmsound.org/murch/stretching.htm Walter Murch]</ref> Hollywood sound editor David Yewdall bemoans the loss of the SD in [[Hollywood]]<ref>''The Lost Sound Director'' (page 35) in ''The Practical Art of Motion Picture Sound'' by David Lewis Yewdall, M.P.S.E., Focal Press (1999).</ref> and recalls the story of [[film producer]] Ross Hunter, working on the film ''[[Airport (1970 film)|Airport]]'', who neglected to take the advice of sound editor Joe Sikorski to record aircraft sound effects on location; an SD would have immediately appreciated the financial implications of ''not'' taking such advice.<ref>''The Lost Sound Director'' (page 116) in ''The Practical Art of Motion Picture Sound'' by David Lewis Yewdall, M.P.S.E., Focal Press (1999).</ref> | <ref>[http://www.filmsound.org/murch/stretching.htm Walter Murch]</ref> Hollywood sound editor David Yewdall bemoans the loss of the SD in [[Cinema of the United States|Hollywood]]<ref>''The Lost Sound Director'' (page 35) in ''The Practical Art of Motion Picture Sound'' by David Lewis Yewdall, M.P.S.E., Focal Press (1999).</ref> and recalls the story of [[film producer]] Ross Hunter, working on the film ''[[Airport (1970 film)|Airport]]'', who neglected to take the advice of sound editor Joe Sikorski to record aircraft sound effects on location; an SD would have immediately appreciated the financial implications of ''not'' taking such advice.<ref>''The Lost Sound Director'' (page 116) in ''The Practical Art of Motion Picture Sound'' by David Lewis Yewdall, M.P.S.E., Focal Press (1999).</ref> | ||
Following the demise of the studio system and the loss of the sound director, part of this role was delegated to the post-production supervisor, [[supervising sound editor]], [[sound designer]] or [[production sound mixer]] - each role allegedly having less influence, responsibility and scope than the former SD. Where no DA is hired - as is the case when making films in the [[Western world|West]] - there has been some debate on the most appropriate role to head the sound department; a supervising sound editor is seen as a technical manager - comparable to an [[art director]] - whereas a sound designer is viewed as a creative visionary, analogous to a [[production designer]].<ref>''Sound-On-Film'' by Vincent LoBrutto (1994), page. 254</ref><ref>''Sounds of Movies'' by Nicholas Pasquariello (1996, 1997), page. 130</ref> | Following the demise of the studio system and the loss of the sound director, part of this role was delegated to the post-production supervisor, [[supervising sound editor]], [[sound designer]] or [[production sound mixer]] - each role allegedly having less influence, responsibility and scope than the former SD. Where no DA is hired - as is the case when making films in the [[Western world|West]] - there has been some debate on the most appropriate role to head the sound department; a supervising sound editor is seen as a technical manager - comparable to an [[art director]] - whereas a sound designer is viewed as a creative visionary, analogous to a [[production designer]].<ref>''Sound-On-Film'' by Vincent LoBrutto (1994), page. 254</ref><ref>''Sounds of Movies'' by Nicholas Pasquariello (1996, 1997), page. 130</ref> | ||