International Audio Arts Festival
29th September - 1st October 2017
If you are looking for rich insights into the creative process of some of the world's finest audio makers, then HearSay2015 is definitely the place for you. The Deepen sessions are all about practicality and craft drawn from the creators of the sounds in the film, comedy, drama, art and features that inspire us.
Dub it funny
Having mixed a lot of TV comedy, Pergrine Andrews knows that we often make it funnier in the mix. Sometimes in obvious ways like giving someone a silly ringtone or adding a bigger crash when they fall over, but in less obvious way too, such as slightly moving the placement of a response or noise, or just making something louder or quieter. Even reverb can help a joke. Using examples from TV shows such as Bluestone 42, W1A, Big School and Paul Whitehouse's Nurse (all of which Peregrine mixed), he will attempt to demonstrate how we can help humour through great sound design.
The Sound of Terror
Using some key scenes from the horror film, and Sundance Film Festival hit, The Hallow (Occupant Entertainment 2015, Dir: Corin Hardy), Steve will discuss how the sound design evolved through the post production stage of the filmmaking process, by breaking sequences down into their different sound layers (dialogue, production effects, sound effects, Foley, atmosphere and music). These breakdowns will include some examples of work-in-progress design alongside final mix sessions from ‘The Hallow’, to give an insight into the various processes the film's sound went through to create the finished work. If you’re brave enough to join this interactive session, there will be plenty of opportunities for questions - just don’t ask what's that noise in the woods?
The radio reviewer of The Independent in the UK observed recently about one distinguished pillar of the British broadcasting establishment that he sounded in his weekly programme “as usual, as if stifling a yawn”. With new platforms, programmes and listening habits, the relationship between presenters/hosts/reporters and their audiences is evolving, characterised by a difference in tone – folksy, provocative, seductive, mischievous, even devious… anything but old-school patrician (burdened by ‘journalistic objectivity’ and outmoded ideas of deference). Alan Hall shares examples of what has been gained in this new audio realm and reflects on what – apart from the yawn - might be lost.
Clock v Pod: Time and the audio story
As an editor of both broadcast and podcast stories, Julia Barton has thought a great deal about the influence of time constraints in audio storytelling and on the listener experience. In fact, she got so obsessed she did an episode of 99% Invisible, "The Broadcast Clock," with Roman Mars and folks at NPR News.
We'll listen to that and then have an open discussion about the role of time in our craft: from broadcast time's scarcity to digital audio's illusion of plenty. What happens when time and attention no longer substitute for one another? The goal of this conversation is to learn more about our assumptions about time, both professionally and culturally, and to refresh our thinking about an often harsh master, the Clock.
Boundaries & Choices in Film Sound
'Glassland' (Element Pictures 2014, Dir: Gerard Barret featuring Jack Reynor, and Toni Collette) was a film that Niall Brady and Steve Fanagan completed the sound design for in 2014, Hugh Fox was the location recordist/ mixer. Using a number of scenes from the film, Niall (Sound Design of Once, Game of Thrones) will reveal how the directorial decisions, picture editorial decisions and comparatively small budget influenced Hugh, Steve and Niall to set certain rules/ boundaries for the sound design and workflow. This breaking down of particular scenes will help illuminate the choices made for the sound design in this film. It demonstrates the considerations and aims of the sound department in narrative film-making, and how each film requires different approaches and presents different challenges. This will be an interactive session with questions encouraged throughout.
[Set in Dublin Glassland tells the story of a young taxi driver (Reynor) who gets tangled up in the world of human trafficking while trying to save his mother (Collette) from addiction. ]
The Personal Rubicon
Conor Garret & Proinsias O’Coinn
When BBC Northern Ireland presenter Proinsias O’Coinn received his first commission for a BBC Radio 4 Popular Arts feature - it set into motion what felt like an unstoppable chain of events. ‘Lacrimosa’ would require Proinsias to set off in search of a piece of art that had the power to make him cry - something in life which he’d never been able to find. But it would also lead to him using the medium of the radio feature as a means of confronting an internal struggle he could no longer hide away from. In this joint presentation from Proinsias O’Coinn and producer Conor Garrett, they discuss the highly personal Rubicon which Proinsias chose to cross and why.
Lets take a listen!
Last year at the inaugural HearSay Audio Festival, the delightful Eleanor McDowall (Falling Tree Productions) who produces the much-loved series “Short Cuts” on BBC Radio 4 held one-to-one Audio Clinics for works-in-progress over a cup of tea in the Grey Heron Media kitchen.
This year all entrants to the HearSay Awards have been asked if they wished to be included in a draw for an Audio Clinic at this year’s Festival. This is a chance to have your audio heard (including work in progress) and to gain tailored insights and tips from great creators in a very unique setting. Audio Clinic slots at the festival this November will be allocated from a random draw from those who DO NOT WIN an award.
HearSay2015 with support from the Broadcasting Authority of Ireland presents
Beyond Broadcast – Giving your work extra shelf life in the classroom
Creating a factsheet to accompany a film, documentary or radio piece is a surefire way to kill your darling. So how can you give a great piece of a radio extra shelf life? Education consultant and documentary maker, Mary-Elaine will share insights into how to breathe new life into your work AND create a new generation of radio listeners by creating pedagogically sound and exciting educational resources.
In this very special HearSay Session, you will step back into your school uniform and become a student in the twenty-first century classroom; listening to radio documentaries, drama and news clips as a student might. Then you will become the teacher, exploring the possibilities of how a piece of radio might adapted to suit the classroom and the twenty first century learners’ needs.
Musings on Music
Sarah Blake and Ronan Kelly
Use of music is an important consideration in producing your feature. We tend to choose music for features when the production is more or less finished. However, when incorporated into your production at an earlier stage, it can be a very useful tool and play an important part in your story. In this highly interactive session Sarah and Ronan from the multi-award winning Documentary on One team, break down the functions of music in storytelling, offer some practical tips and have a "Battle of the Laptops" where the audience decide what works and what doesn’t!