Home on DAD 310: Sound Design for Film

Foley Design

Mon, 01 Jan 0001 00:00:00 +0000

Perform live Foley for a 10-second robot animation, in teams.

Foley Recording

Mon, 01 Jan 0001 00:00:00 +0000

Record and layer the same animation’s Foley in the studio.

Field Recording

Mon, 01 Jan 0001 00:00:00 +0000

Five Zoom recordings: two ambience beds, three ambience details.

SFX Editing and Processing

Mon, 01 Jan 0001 00:00:00 +0000

Clean, trim, and build variations from your field recordings, then finish five production-ready sound effects.

Sound Synthesis

Mon, 01 Jan 0001 00:00:00 +0000

Five synthesised foreground sounds for a science-fiction scene.

Ambiences

Mon, 01 Jan 0001 00:00:00 +0000

A 30-second ambience — ideally for a scene from your final project.

Screening Log

Mon, 01 Jan 0001 00:00:00 +0000

Three feature films watched at home, three timestamped moments each.

Reverb and Echo

Mon, 01 Jan 0001 00:00:00 +0000

Four send busses, four acoustic spaces, using ReaDelay and ReaVerb.

Final Project

Mon, 01 Jan 0001 00:00:00 +0000

A five-minute sound design piece: Foley, ambience, SFX, and final mix.

ADR: Replacing a Line to Picture

Mon, 01 Jan 0001 00:00:00 +0000

How dialogue gets re-recorded in a studio and fitted back into the film so no one can tell.

AI in Post

Mon, 01 Jan 0001 00:00:00 +0000

Dialogue isolation, generated sound effects, and what both mean for the work.

Designing for Sound by Randy Thom

Mon, 01 Jan 0001 00:00:00 +0000

Designing for Sound by Randy Thom

Read the essay before class: Designing A Movie For Sound (1999). This page pulls out the arguments we discuss and pairs each one with a clip. All quotes are Thom’s own words.

What is sound design?

The biggest myth about composing and sound designing is that they are about creating great sounds. Not true, or at least not true enough.

Thom’s target is the idea that a sound designer’s job starts after the film is shot. His alternative: design the film itself with sound in mind, so that sound can shape decisions in every other craft. He saves his answer to the title question for the last page, and so do we.

Dialogue Editing

Mon, 01 Jan 0001 00:00:00 +0000

Room tone, splits, and repair: the invisible work that makes recorded speech play as if it were never edited.

Editing and layering Foley

Mon, 01 Jan 0001 00:00:00 +0000

Today we’ll edit the A Quiet Place Foley we recorded together. As we compare takes and try different edits, listen for how timing and balance change what you believe about the action on screen. Use the same process with your team for Assignment 2: Foley Recording .

Monday, September 28

By the end of class, you should be able to choose a Foley take, synchronize it to picture, and balance it with another layer. We’ll work together on the studio computer. You’ll help choose performances, judge synchronization, and suggest changes to the mix.

Editing in Reaper

Mon, 01 Jan 0001 00:00:00 +0000

I - Identify Clicks, Pops, and Errors

We’ll start with a piece of audio that has a click in it. There is specialized software for getting rid of clicks and pops, but we can do an ok job just in Reaper.

First find the beginning of the click and add a split. Notice that Reaper automatically adds a fade out and fade in to the splits. Now you can adjust the fades so that the sound is as natural as possible while still removing the click.

Explosion SFX

Mon, 01 Jan 0001 00:00:00 +0000

Based on this tutorial

Create a dramatic explosion soundscape for a key moment in an action film. This complex sound design will require thoughtful layering of elements across frequency ranges to build tension and release.

Our explosion occurs when the protagonist triggers a detonator, igniting a series of charges they had planted around the antagonist’s lair. The goal is to create a visceral yet stylized Hollywood explosion that supports the visuals and dramatic arc.

Footstep replacement lab

Mon, 01 Jan 0001 00:00:00 +0000

Film a short walk, spot the contacts, and record replacement footsteps together on the studio computer.

Naming Sounds: UCS and Library Organization

Mon, 01 Jan 0001 00:00:00 +0000

The Universal Category System, embedded metadata, and the habits that make a recording findable a year later.

Optional editing practice

Mon, 01 Jan 0001 00:00:00 +0000

These five drills are optional, ungraded practice. Use them if you need a refresher before editing your Foley or field recordings.

If you want an editing refresher, use the following WAV files (source-files.zip on D2L) to meet the following specifications:
• outdoors-shotgun.wav: remove all traces of handling noise—only the natural sounds should remain as one continuous sound that is 27-30 seconds long.
• store.wav: remove all of the beeps and clangs, so you are left with 3-5 seconds of continuous convenience store ambiance.
• metal-drop.wav: edit three of the best metallic impact sounds from these five recordings. Try to retain the metallic ringing after each initial impact.
• squeaks.wav: edit three squeaks that would be best when designing for the sound of a small cart with squeaky wheels.
• coins.wav: edit three-coin spilling sounds with the most shimmery, metallic quality.
When finished, add comments to each track, and assign a unique track and region color. Save your session for your own reference. There is no submission or deadline.

Reaper intro

Mon, 01 Jan 0001 00:00:00 +0000

The following tutorial is based on this video: This is REAPER 6 - Intro (1/15)

Intro

One of the most unique features of Reaper compared to other DAWs such as Pro Tools, Logic, or Ableton is that everything is customizable. This includes key commands, menus, toolbars, and mouse behaviors. It has pretty good defaults, so you don’t have to worry about customizing everything right away.

We can hide the mixer by closing it (cmd+M).

Recording Foley

Mon, 01 Jan 0001 00:00:00 +0000

Mic choice

Start with one of these microphones for Foley. Record a short test with your prop and choose the one that captures the sound most clearly.

Austrian Audio CC8 pair . A good starting choice for footsteps, scrapes, and detailed prop work. Use one microphone for our mono Foley workflow.
RØDE NTG5 . A strong option for quiet Foley because of its low self-noise. Aim this directional shotgun at the action and keep the performance within its pickup area.
Audio-Technica AT4041 . A good choice for footsteps, impacts, and other clear attacks. Try the CC8 or NTG5 first for very quiet rustles.

Placement

Ament describes the standard Hollywood close-mic setup: the microphone sits about 6 inches above the surface, 1 to 2 feet in front of the performer, angled down at the contact point. That geometry catches the shoe or the prop while rejecting body movement and clothing rustle.

Recording in Reaper

Mon, 01 Jan 0001 00:00:00 +0000

Source

Recording in Reaper

Create a new track and name it “voice”. Click the track record button to put the track into record mode. Now you should see the track input section. Change this to the input that you want to use. If you don’t have an interface plugged in it will be your build in inputs. This is usually “input 1”.

Set your recording levels so that your meters are hitting between -18 dB and -12 dB. You have to do this while playing sound. There’s no way of setting levels by just moving the input gain without looking at the meters.

Resources

Mon, 01 Jan 0001 00:00:00 +0000

Schedule

Mon, 01 Jan 0001 00:00:00 +0000

Opportunities in Digital Sound Design at DSU — DSU Live runs student concerts, and Student Research Initiatives funds undergraduate work.

8/24

Class introductions
- Your name, your major, and the last thing you heard today that you’d want to record
Review the syllabus and expectations
[slides] Sound design in film
[screening] No Country For Old Men — video essay

homework

[listen] Rain is sizzling bacon, cars are lions roaring: the art of sound in movies — for Wednesday
Look ahead: the screening log
- Three films watched at home across the semester, three timestamped moments each. The first is WALL-E, due 9/16.
- All of them stream free through the library, so you can start any time you like.

8/26

[slides] Discuss the podcast — Rain is sizzling bacon

homework

[reading] Designing for Sound, Randy Thom — for Monday

8/28

[slides] Narrative transition from silent movies to sound
[screening] Silent film playlist

8/31

[slides] Designing for sound — notes on the Thom reading

9/2

[lab] Sound walk — take the journal with you

homework

[reading] World Soundscape Project — for Friday
- Soundscape composition
Bring one idea from the readings that changed how you understand today’s walk

9/4

Discuss the World Soundscape Project reading and recordings and connect them to Wednesday’s observations

homework

Check out Earth.fm before Wednesday

9/7

[off] No class — Labor Day

9/9

Two students share an Earth.fm narrative — 10 minutes
[slides] Character: the aesthetics of Foley
[screening] Screening 1: WALL-E — watch the whole film at home

homework

[assignment] Screening log 1 — three timestamped moments, due Wed 9/16

9/11

[screening] Foley Grail, chapter 3 — clips
Watch the robot animation and decide which Foley element each of you takes
[assignment] Assignment 1: Foley Design — live performance, in teams, performed in class Mon 9/21
- Bring a range of props for two versions with role changes on Monday 9/14; continue comparing versions and exchanging feedback Wednesday 9/16 in Charm Studios

9/14

[lab] Foley workshop: sound choices and character for Assignment 1 . Bring your props. This workshop is ungraded.
- Map the robot’s actions and divide the cues. Allow 5 minutes.
- Build version A. Test props and rehearse the full sequence several times against picture. Allow 10 minutes.
- Build version B. Change props or materials for at least two cues and rotate parts so everyone performs a different set of cues. Explore how the new sounds change the robot’s weight or character, then rehearse the full sequence several times. Allow 15 minutes.
- Pair with another team and perform both versions. Compare the sounds, timing, and character. Note one discovery from changing props and one from changing roles. Allow 10 minutes.
- Test a change based on feedback and run the sequence again. Keep notes on both versions and decide which additional props to bring Wednesday. Allow 10 minutes.
Optional REAPER reference: Introduction to REAPER , Starting a new project , and Editing practice

homework

Bring props for both versions, plus any new alternatives, on Wednesday. Bring your cue notes and be ready to rehearse both versions with different role assignments.

9/16

[due] Screening log 1 — WALL-E
[lab] Foley team rehearsal and paired feedback for Assignment 1 . This workshop is ungraded; whole-class presentations and assessment are Monday 9/21.
- Set up and rehearse version A several times against picture. Use Monday’s notes to improve the sounds and timing while I circulate to coach. Allow 10 minutes.
- Rehearse version B several times, using different props or materials for at least two cues and rotating parts so everyone performs a different set of cues. Test new alternatives and work through the handoffs. Allow 15 minutes.
- Pair with another team and perform both versions. Compare timing, materials, and character, and discuss what the prop and role changes helped you discover. Allow 10 minutes.
- Choose the strongest sounds from either version, assign final roles, and rehearse the combined design. Note what still needs practice before Monday. Allow 10 minutes.
Reference: Audio hardware and Charm Studios documentation

9/18

[off] No class
Use the time to rehearse Assignment 1 with your group before Monday’s live performance

9/21

[due] Assignment 1: Foley Design — assessed live performances and design discussion
- Set up props and playback. Allow 5 minutes.
- Each team performs its prepared version twice, then explains one successful prop choice and one difficult cue. Classmates respond to the timing, materials, and character they heard. Allow 20 minutes across all teams.
[lab] Change the character: each team gets a new direction, such as making the robot seem worn out or unusually delicate. Rehearse briefly, then perform the revised version and discuss which choices conveyed the change. This challenge is ungraded. Allow 15 minutes.
From live performance to recorded Foley : identify which sounds need separate passes, where live balance was difficult, and what recording would let you change. Allow 10 minutes.
- If performances and discussion finish early, preview the A Quiet Place clip and identify sounds we’ll need to record. We’ll assign its cues to Foley pass tracks in REAPER on Wednesday.

9/23

[slides] Spotting and cueing Foley
[lab] Spot A Quiet Place together using the downloadable movie clip in one REAPER project on the studio computer. The instructor operates REAPER while students identify cues, choose props, and plan separate recording passes. Put each cue on its assigned Foley pass track with its left edge at the exact sync point.
- Practical guide: Spotting Foley in REAPER .
- Rehearse one entrance with three beeps, performing on the silent fourth beat. Save this shared project for the recording demo on Friday and editing session on Monday 9/28. No individual computer setup or submission is required.

9/25

[slides] Recording Foley : mic choice, placement, and performance
Live demo: capture a small, usable set of cues for Monday’s editing lesson. Reopen Wednesday’s shared A Quiet Place project and check mono inputs, headphone cue routing, and levels. Rehearse a spotted cue with the beeps, then record the lead-in, performance, and tail on separate layer tracks. Reference pages: Recording in REAPER and the tracks .

homework

[assignment] Assignment 2: Foley Recording — record and layer the robot animation with your team outside class, due Mon 10/5
- Use the robot starter project and REAPER spotting lab to apply the class workflow to your robot animation. Arrange studio time with your team outside class.

9/28

[lab] Editing and layering Foley — work through Friday’s A Quiet Place takes together in the shared studio project. Compare performances, refine synchronization, and balance layers. Use a short recorded section; record a replacement only if needed to demonstrate the editing process.
Apply this workflow to your robot project outside class for Assignment 2, due Mon 10/5.

9/30

[slides] Setting: ambience, immersion and sense of place — hear how beds and details establish a place before recording your own.
Preview Assignment 3: Field Recording : two ambience beds and three ambience details. Begin choosing locations and sources; we’ll practice with the recorders Friday.
[screening] Screening 2: The Zone of Interest, or Nope if you prefer — watch the whole film at home
- Read the note on the assignment page before you choose

homework

[assignment] Screening log 2 — three timestamped moments, due Mon 10/5
[assignment] Assignment 3: Field Recording — five recordings on the Zoom, due Wed 10/21

10/2

Zoom recorder demonstration and supervised recording practice
- Compare the onboard X/Y microphones for ambience beds with the external shotgun microphone for focused details.
- Set the recording format, monitor on headphones, set levels with headroom, slate a take, and transfer the files to a computer.
- Record a short practice bed and detail, then listen back for handling noise, wind, and clipping.
- Reference: Zoom H4n Pro manual
Questions about Assignment 2 before Monday’s deadline. Complete the robot recording and editing with your team outside class.

10/5

[due] Assignment 2: Foley Recording
[due] Screening log 2 — The Zone of Interest or Nope
Discuss how the films create offscreen places through sound. Allow 10 minutes.
[slides] Naming sounds: UCS and library organization — apply the naming pattern to a practice recording from Friday. Allow 25 minutes for the lesson and practice.
Confirm your Assignment 3 locations, sources, and equipment-sharing plan. Check out a recorder and fill out the form on the wall before I leave. Allow 15 minutes.
Trojan Days run Oct 5–10, including the Day of Service — check the campus calendar for events you want to be at

10/7

No class meeting — I’m out of town. Independent field recording day.
[lab] Record the large- and small-space ambience beds for Assignment 3 , following the equipment-sharing plan arranged Monday. Monitor, slate, and listen back before leaving each location.

10/9

No class meeting — I’m out of town. Independent field recording day.
[screening] Watch the Blow Out (1981) recording scene. Identify decisions about source, microphone position, and listening that you can apply to your own recordings.
[lab] Record the three ambience details for Assignment 3 . Back up your files and apply UCS names while the sources and takes are fresh in your memory.
Bring your recordings and recorder on 10/16 for listening, troubleshooting, and additional recording. Assignment 3 remains due Wed 10/21.

10/12

[off] No class — Native American Day

10/14

[slides] Mood: emotion, tone, and working with music
[slides] Working with music — temp tracks, cutting a cue, licensing
[screening] Screening 3: A Quiet Place — watch the whole film at home
- We spotted this film’s class clip on 9/23 and recorded Foley for it on 9/25 and edited it on 9/28. This time listen to how the film uses the whole runtime

homework

[assignment] Screening log 3 — three timestamped moments, due Mon 10/19

10/16

[lab] Field recording follow-up — bring your recorder and your independent-session recordings. Listen back, troubleshoot, and capture additional or replacement takes.

10/19

[due] Screening log 3 — A Quiet Place
[slides] Shape: sound maps, contrast and motif
- The film closes this deck — we’ll come back to the implant motif at the end

10/21

[due] Assignment 3: Field Recording
[slides] The editing mantra: L-I-S-T-E-N

10/23

[slides] Editing and cleaning up audio in REAPER
Look at Soundly and SoundQ for well-edited reference SFX

homework

[assignment] Assignment 4: SFX Editing and Processing — due Wed 11/11

10/26

[slides] Symbol: sound worlds and metaphors

10/28

[lab] Capture dialogue for today and the later worldizing lab: record one short line clean and again “in a space,” plus 30 seconds of room tone for each. Save both takes and room tones. Allow 15 minutes.
[slides] Dialogue editing — room tone, splits, and repair. Allow 15 minutes.
[lab] Fix a scene: use today’s recordings to build room tone fill and hide a cut between two takes. Allow 20 minutes.
Assignment 4 work continues in the 11/4 session

homework

Before Friday: film a partner reading a line somewhere noisy — hallway, parking lot, the union — and bring the clip to class for the ADR lab

10/30

[slides] ADR: replacing a line to picture
[lab] Replace the noisy line you filmed before class: re-record it in the studio and fit it back to picture
Free impulse responses at OpenAir

homework

[assignment] Reverb and echo — four sends, four spaces, due Fri 11/6

11/2

[slides] Space: acoustics, silence and the frequency spectrum
[slides] Worldizing and futz — real spaces, phone voices, and perspective cuts

11/4

[lab] SFX processing work session — bring your edited sounds and start the final-production pass

11/6

[due] Reverb and echo
[lab] One line, three worlds : futz your 10/28 line, worldize it through a speaker in a real space, and compare both against a reverb plugin

11/9

[slides] Time: transitions, rhythm and time perception

11/11

No class meeting — I’m at ATMI in Grand Rapids, MI (Nov 11–14). Wednesday and Friday are independent work days.
[due] Assignment 4: SFX Editing and Processing — submit on D2L as usual

homework

[assignment] Assignment 5: Sound Synthesis — five foreground sounds in Vital, due Wed 11/18. Read the assignment page on your own and post questions in D2L; I’ll answer from the road.

11/13

No class meeting — I’m at ATMI in Grand Rapids, MI (Nov 11–14)
[lab] Independent Vital work session — build your sound map, then start synthesising
[slides] Sci-fi sound design: Tron — work through the deck on your own; we’ll pick up the thread Monday

11/16

[slides] Layering and pitch shifting: the explosion
[lab] Build your own layered explosion from the raw material
[lab] Compare REAPER’s time-stretching and pitch-shifting algorithms

11/18

[due] Assignment 5: Sound Synthesis
[assignment] Final Project — a five-minute sound design piece

homework

[assignment] Assignment 6: Ambiences — one 30-second place, ideally a scene from your final project, due Mon 11/30
Final project proposal — due Mon 11/23: post links to the clips you’ll be designing

11/20

Guest visit: director Samantha Aldana and sound designer Devin Lawrence discuss their collaboration on Shapeless — 2:00–2:50 p.m. Central on Zoom

homework

Before class, watch the selected scenes from Shapeless — links will be posted here
Bring one question about the collaboration between the director and sound designer

11/23

[due] Final project proposal — bring the clips
[screening] Watch everyone’s proposed footage and talk through the challenges

11/25

[off] No class — Thanksgiving recess (Nov 25–29)

11/27

[off] No class — Thanksgiving recess (Nov 25–29)

11/30

[due] Assignment 6: Ambiences
Listen to the ambiences together — where does each one put you, and what gives it away?

12/2

In-class spotting session. Each of you presents your project setup in REAPER and walks through your spotting plan — what you intend to record, and what you’ll pull from libraries or Freesound.
[slides] Spotting in REAPER

12/4

[slides] The final mix and deliverables — dialogue leads, loudness specs, stems
[lab] Work session — finish your Foley and ambiences, start the final mix. Measure your loudness and set up your stem folders while you’re at it.

12/7

Last meeting — course evaluations
Full-draft presentations. Each of you presents your project for group feedback:
- Overall sound design effectiveness
- Emotional and narrative alignment
- Final tweaks before submission
Final Project — presented at the final exam, Mon 12/14, 3:30–5:30 pm

12/14

[due] Final Project — due today, submitted on D2L
Final project presentations — 3:30–5:30 PM, our scheduled final exam slot

Sound Walk Journal Assignment

Mon, 01 Jan 0001 00:00:00 +0000

We’re going to take a walk and listen to it the way a sound designer would. You’ll take notes as we go, then write a short reflection on how the sounds you heard could work in a film: to represent reality, or to carry emotional subtext.

Bring a notebook and pen. A phone for recording notes or sounds is fine but optional.

During the walk

Walk silently. We stay quiet as a group so everyone can actually hear the place. Pay attention to the layers of sound around you, natural and human-made, and notice volume, rhythm, pitch, and texture.

Spotting Foley in REAPER

Mon, 01 Jan 0001 00:00:00 +0000

Spot A Quiet Place, organize Foley passes, place cue items, and rehearse three-beep entrances.

Spotting in Reaper

Mon, 01 Jan 0001 00:00:00 +0000

Your assignment for today is to spot and add sound effects for all of the footsteps in this animation. Pick footsteps sounds that you think match the character and make sure there is enough variation to not become boring. Also add sounds to match the character getting sucked into the bag at the end.

Get sound effects from freesound.org.

Spotting

Add empty MIDI clips to the exact place where you want to spot. You can inert a MIDI clip by pressing command (control) + drag. To rename these clips open the Project Bay -> Media Items tab. Rename your items here. Select options -> “Mirror selection in bay and project”, and “Zoom/scroll to selected media items when mirroring selection”. The project bay makes it easy to move between items in your project.

Syllabus

Mon, 01 Jan 0001 00:00:00 +0000

The full signed syllabus, including university policies, is available as a PDF .

Course

DAD 310 — Sound Design for Film. 3 credits. Fall 2026, Dakota State University. Prerequisites: DAD 222 and MUS 204.

This course is an introduction to sound design for film and linear media. Students examine and analyze the use of music, dialogue, and sound effects for narrative storytelling. Topics include microphone techniques, foley, field recording, sound design, and mixing.

The Editing Mantra: LISTEN

Mon, 01 Jan 0001 00:00:00 +0000

Adapted from Ric Viers’ The Sound Effects Bible. Run every sound effect you edit through these six steps, in order.

L - Listen critically
I - Identify clicks, pops, and errors
S - Signal process (EQ and compression)
T - Trim/crop the file
E - Examine fade-ins/fade-outs at the zero line
N - Normalize/name file

1. Listen critically

Play the file and really listen. Does it sound good? If the recording itself is poor, delete it and record again; no amount of editing fixes a bad source. If it’s good but has problems, the next steps handle them.

The Final Mix and Deliverables

Mon, 01 Jan 0001 00:00:00 +0000

How a film mix comes together: dialogue first, then everything else, measured against a loudness spec and delivered as stems.

The World Soundscape Project

Mon, 01 Jan 0001 00:00:00 +0000

Discussion questions and recordings on acoustic ecology, documentation, and soundscape composition.

This is REAPER 6 - Starting a New Project

Mon, 01 Jan 0001 00:00:00 +0000

Based on this video

Audio device settings

Check your audio device settings in the Reaper preferences (cmd + ,) Audio -> Device -> Audio device settings -> Audio Device. This can change if you plug into audio interfaces or microphones.

Start a new project

File menu -> New project or the first button on the toolbar. But nothing happens. This is because we haven’t saved the project yet. We can tell Reaper to prompt us so we don’t forget. Preferences -> Project -> Prompt to save on new project. Now we can save the file. Make sure to have both of the checkboxes below checked to create a subdirectory for the project and copy all new media into the project.

This is REAPER 6 - The Tracks

Mon, 01 Jan 0001 00:00:00 +0000

Based on this video.

Tracks

Adding tracks

Shortcut - cmd + t
double click in the TCP
or right click in TCP

Organization

Make a habit of naming your tracks something to keep them organized. As you name you can move to the next track with the “Tab” key.

To add multiple tracks at once right click and select “insert multiple tracks.” We can select the number of tracks and a name for each. See how it will automatically number them for you?

Tron Sound Design

Mon, 01 Jan 0001 00:00:00 +0000

This sound design is influenced by this tutorial video , thought we are using a different clip and source sounds.

Download the clip I used to here

The most important part of this process is searching for sounds. Finding the right sounds will mean less editing and manipulation later, and also a more believable sound for the audience. The Matt from the tutorial provides a few helpful search terms to find sounds that are related to the feel of the scene.

Working with Music

Mon, 01 Jan 0001 00:00:00 +0000

The practical half of music in film: temp tracks, cutting a cue to picture, and what you may legally use.

Working: Joanna Fang notes

Mon, 01 Jan 0001 00:00:00 +0000

Cartel Land

Isn’t it interesting that documentaries need Foley? Why is that?

She makes the point that a documentary is a film, with a lot of the same concepts and ideas used as in a fictional film. The viewers are still expecting the same sound quality as they’re used to in scripted fiction.

walk footsteps
spot for props a character is using

The same issues with location sound on scripted sets are magnified with documentary filmmaking. Directors have even less control over their “sets”.

Worldizing and Futz

Mon, 01 Jan 0001 00:00:00 +0000

Two ways to put a sound inside the film’s world: re-record it through a real space, or process it to sound like a device.