SOUND CREATES SPACE
Tobias Purfürst is a sound designer, music producer and performing artist. He composes sounds and music for our films. In this interview Tobias talks about sounds that create spaces, noises that announce events and the productive relationship between art and business.
How do sound and pictures meet? Could you describe the creative process developing soundtracks for 3d animations and film?
Before I start composing it’s words only. Together with the 3d and film team we develop a concept for the sound design. At this point we ask some fundamental questions: What mood is to be transported? Do we focus on technical details? Like for example, when the technically demanding construction of a building is animated. Or is the desired mood rather emotional to emphasize the aesthetics of an architectural design or product?
“Sound tells a story.”
Another important questions is: Who is supposed to watch the film, who are the target groups? We work for international clients with customers from different countries and cultures. Depending on whether the recipients come from the Arab world, from China or Europe, I use different styles, tempos and harmonies that are tailored to the listening habits and musical traditions of these cultures.
When do you start watching the film?
As early as possible. To get a feeling for the rhythm and the different sequences, the film team provides me with an animatic, a moving storyboard. This consists of unrendered raw image sequences, but already contains cuts, camera angles and movements that give me a sense of dramaturgy and timing. This story reel inspires the sound. The sooner the picture lock takes place–that’s when the cut has been finished and approved–the better I can adjust the soundtrack to the images.
Since most of our projects run under deadline pressure, this ideal scenario is rare [laughing]. So most of the time sound development and picture composition happen simultaneously. If the cut is changed shortly before delivery, it massively increases my effort because the tracks have to be readapted to maintain the rhythm and dramaturgy. At best, it’s a co-creation, when sound and picture creation benefit from each other. This almost always works out, even if it’s sometimes very stressful. Finally the better result compensate for the struggle.