Sound Designer

Process Notebook and Viva

BACK

All candidates will need to keep a log of the process. The contents will be skill specific.

It is advisable that all details of the process are kept in a complete folder out of which material can then be selected for more specific submissions such as:

  • Creative Logs
  • Evaluations

Content may include:

General to ALL design and acting candidates:

  • annotated research
  • diagrams
  • photographs
  • sketches
  • charts
  • visual images
  • digital media, including brief recordings of sections of a rehearsal or material appropriate to the skill area e.g. sound clips. These should be no longer than one minute.

Specific to SOUND DESIGN:

  • evidence of exploring different sounds and/or music
  • notes on exploring equipment e.g. mixing desks, microphones, speakers, editing equipment
  • sound files of stages of progress
  • screen grabs of files during editing process e.g. Audacity
  • recording, editing, mixing information

Viva

Design candidates should prepare and be able to talk about:

Response for choice of stimulus and/or STYLE / PRACTITIONER or THEATRE COMPANY including:

  • Initial responses
  • Inspirations
  • How the stimulus prompted design process

Discussion of TEXT and choice of STYLE / PRACTITIONER or THEATRE COMPANY including:

  • Key elements of the style selected
  • Application to design skill e.g. how the style / practitioner / theatre company can be applied to set, lighting, sound or costume
  • Group work and contributions made by the designer
  • Development during rehearsals

Discussion of DEVISED and choice of STYLE / PRACTITIONER or THEATRE COMPANY including:

  • Key elements of the style / practitioner / company selected
  • Application to design skill e.g. how the style / practitioner / company techniques can be applied to set or lighting or sound or costume
  • Group work and contributions made by the designer
  • Development during rehearsals

Specific design elements including, for example:

SOUND:

  • Needs of both pieces
  • Use of sound equipment, sources of sound, mixing, editing
  • Use of level, intensity, sound in the performance(s)
  • Style, practitioner / company influences

Design process including:

  • Adapting ideas
  • How the designs grew / developed through the rehearsal process

Clear links between
DESIGN
and STYLE or PRACTITIONER / COMPANY
and STIMULUS

The quality of the design skill is assessed during the performance. In the viva, learners may also demonstrate:

Sound

  • Folder of design/concept work – this could be in paper form OR electronic i.e. designs executed through a design package;
  • Sound sequence on paper including e.g.:
    • cue list
    • sound cue descriptions
  • Sound sequence on TAPE or any other storage device e.g. CD, iPod, minidisc, laptop, computer, sound package;
  • Mixing / editing elements;
  • PROMPT COPY or annotated script for cueing highlighting the minimum 8 states;
  • Recorded evidence of all elements i.e. the teacher filming the pages of the candidate’s folder and other elements being presented for assessment;
  • Evidence of the process e.g. example sound, sources sounds;
  • Evidence of collaboration with the actors e.g. rehearsal notes, production meeting notes;
  • Evidence of effective knowledge of mixing desk including, if possible, a demonstration of operation?

All relevant to the chosen practitioner / company or style for each piece.