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how to find a job in sound design?
I have been into all kinds of synths, sound design, orchestral" movie trailer style music"
but I have no idea were to find freelance work doing sound design or composing. does anybody here have suggestions?
I really want to get in this business, but need some direction.
Comments
Listen to the audionowcast podcast, they talk about this subject a lot.
One way ist creating patches for "famous" synths. Mostly developers (when interested) will contact you.
But on iOS it's a nearly worthless thing..... But it makes fun
You could also release some things like trailer music on platforms as royalty free stuff etc.
Send demos to things which might fit..... etc.
Make demo tracks for synths.
But it's not easy to get contact to the right people and the market seems a bit oversaturated too.
I am in the business, and the first thing I think is, where can I hear your work?
Flash it!!
This is a very tricky one. My route to fx post production in the film industry was through my music. Having created wibbly weird music for 10 years or so, released multiple records a friend suggested I try to do sound design for some upcoming films.
As usual it started by knowing someone, but the process involved needing to score and add fx to film as a showreel. I submitted a version of few scenes and was selected for my first job doing fx. While I wa lucky to have a specific project to submit work for, another route is to just take an existing film / sequence etc and score / do fx over the top for showreel before they have actual paid work to show. With film and tv I don't believe it is good enough to submit sound without it being attached to picture.
In film and TV, sound houses are generally inundated with showreels and I've witnessed a lot of them being chucked without being heard - there is not enough time to review them all. Sadly knowing people helps massively. One way to start that process is to be an apprentice - in a saturated market, it involves being in the right place but not doing the glamorous work for some time!
Anyways... Hope that helps
Interesting inside, thanks!
It´s also interesting when i hear all those tv series and movies i have the feeling 95% of the people using Omnisphere as their main tool ;D together with sample libraries or other composing tools like Gravity f.e.
So making patches for those synths could be a good entree too. I would kill for an iPad Pro version of such a tool.....
Today it´s easy to get access to all those "famous" cinematic sounding instruments etc. even for as semi talented hobbyist like me.
Then i hear so many great free stuff out there that i ask me if anyone (without a well known name) can make a living from it today.
wow so much great feedback! I'm defiantly going to try to make my reel available online( any suggestions of were to post my reel?)
Following on from earlier.....a few extra thoughts. (About TV and film post at least)
a lot of people will have done well by doing unpaid or low paid work for a director / post supervisor / producer in the making. You can do a lot of this and not strike gold - but get one good one, and I've seen directors get whisked off to make their 2nd film in LA on a huge budget and pull others who have worked on their shorts and 1st film along with them.
don't generally talk about being a sound designer too much in tv and film. Everyone wants to be a sound designer, but that is a bit of a myth - most work is done as a dialogue, fx, atmos or foley editor. Those that refer to themselves by those disciplines can be taken as being a bit more savvy in the industry. Sure sound design is a skillset, but those above are the job roles (in post at least)
learn how to lay up tracks properly and in a manner which benefits a re recording mixer. Cutting to video involves organised track laying and providing well organised and clear sessions to a final mix will earn you respect and more. In a final mix there is little time and a lot of tracks, grouping, subs, colouring, naming, correct use of mono and stereo, 5.1 layup.... All good thing to show a prospective employee you are aware of.
Tools... Everyone will use different tools, but 95% will likely be on pro tools and with a large sound fx library (with a good data mining app which searches meta data). While it would be nice to be majestically blending noises and recording weird shit in fields at 4am (don't get me wrong there is that stuff too) budgets dictate the time and tools you get to use. If you have 6 reels of 5.1 atmos to lay up in 2 weeks, there's not much time to get all crazy. It's really nice when you can, and you bank a lot of noises you have worked on or found how great pitched down aeroplanes taking off can work in fight scenes .... But there is a lot of bread and butter too - doors, chairs, crowds, cars ..... And finding a dry Renault 5 door closing with the right amount of force with a jiggly window pane can consume a fair amount of time
Musings over.... Good luck!
Very good point, it is a bit like saying 'commercial artist' which can be too general.
Great post. Really interesting and useful I'm sure.
Wow!!
you are awesome. so much amazing info to digest. thank you for making such a organized list. I cannot tell you how valuable this is to me.
do you work in the industry? if so what do you do?
thanks again
What about making sounds and/or soundtrack for independent iOS apps.
Game soundtrack is a huge industry today too.
One of my favourite here is Sonic Mayem ´s works and i know he loves to use iOS synths too.
Glad to help
I worked as an fx editor (so doing fx and atmos, some music editing) for a number of years. It is great work, enjoyable, varied, a bit stressful at times, but what work isn't!?
It is not, however an easy road. Getting a 9-5 (non freelance) job would be ideal, but very few post houses in the UK are large enough for that. Freelancing is good, but a combination of the industry and the fact that post production is one of the final processes means that it can be volatile. By this I mean a 3 month project can simply disappear days before you should start. This is not easy with a mortgage and children...
I left the industry when we were expecting my 1st child 3 years ago, and I'm both happy for my time doing it, but also happy for my regular income and ability to support my family now
I have a lot of friends who make a living in all different approaches (only working on big features, doing a lot of TV dialogues, moved to LA and composing on mid level budgets) so there is plenty of opportunity.
Budgets have reduced considerably and the industry has devolved a lot, so there is more opportunity for freelancers from home to pick up work. However mixing (both literally and metaphorically) with others with knowledge, experience, wisdom and a broad understanding of the industry is very important for a rounded industry character
Yeah I want to do to soundtracks for documentaries, they have such weak music and sound design. Also kill the narrator, I will narrate and not sound so annoying! Also, I hate the loud to soft thing they always do, I will compress the hell out of horror movies especially!
Sounds like you may need to direct your own then!
I really love dark sounds! It makes such a giant part of the feeling and emotions!
In my dreams i would make sounds for Sci-Fi and Horror movies. For now it stays in my imagination
Once i saw a documentary about a foley creator and it was really interesting what is used sometimes for imitating real sounds!
I'm a Sound Designer and Composer for a German Gaming Company for six years, and I just applied for the job witout any education. I had worked as collaborative electronic musician before and had a homepage with many samples as reference. That helped, and the test tasks I worked out within a few days convinced them to give me the job. I'm still happy with it, and I use to develop themes for genres that I surely won't produce at home.
Nice story.... That lets uneducated people like me dream further!
Especially i think it's hard in Germany to get a job without a hundread references on paper lol!
So you must done it right
I'm 31 and still don't know what i want to be.
He he, i'm 37 and i'm not what i want to be....
Yeah this plan of mine is if Im the dictator of the entire project. What I say goes! HA
For real though I think I could make soundtracks and sfx way better than most. I was thinking of redoing alien (which sounds great) but with a more ambient chilling sound design. Basically I want to remix like every movie, Like when gunshots are so loud and then you can't hear the people talking if you turned down the insanely loud gunshots that your neibors call the cops on you for.! Anyone feel me?
Real gunshots are loud too
I feel ya. Can't stand when editors have SUPER LOUD EXPLOSIONS, so I turn the volume down, then the dialog is way too quite...volume goes back up. Scene change and now SUPER LOUD 80'S MONTAGE MUSIC! AGHH!
On movie dubbing:
There are at least two schools on doing that. One is Hollywood, with dialogues sitting realistically in the mix, and the Italian one, where every movie is dubbed in Italian but it still applies to native productions, where dialogues are way louder than the ambient sounds so they are always "in your face", no matter what.
ENG:
IT:
Glad someone feels me~! I think the whole jump scare concept is so overplayed too.
I actually used to have a guitar compressor pedal hooked to my tv! Rocking it mono but damn it sounded so much better. The woman screams and guns didn't wake the cat or make me want to smash the tv ha! I think dynamics in sound are WAY overrated, not that I want a pop star compressed style but something in between.
I was just thinking about adding a compressor on my A/V system the other day. I enjoy dynamics in music much more than tv with ads!