ABSTRACT
This chapter sets up the crucial importance of time and effort when it comes to sound design and score composition, as these “characters” will often make or break a film. In Outsourcing, we look at the principles of seeking out a composer that is a fit for your project, referencing prior case study Love in the Time of March Madness. This leads into Composers’ Roundtable, an elaborate and in-depth discussion with several prominent composers/sound designers known for their work in the independent animation sphere – David Kamp, Phil Brookes and Skillbard (Tom Carrell and Vincent Oliver). Topics explored include the nature of independent artistry, how sound and music fit into the production pipeline and advice for animation filmmakers on how best to strengthen their working relationship with their composers/sound designers.
In Being Selective, we look back to the disparate music and sound approaches taken with previous case studies Ernie Biscuit, Sausage and A Gentleman’s Guide to Villainy. Self Sufficiency explores the concept of a filmmaker drawing on their own abilities and resources to tackle their film’s music and/or sound, either individually or through collaboration, expanding on prior case studies The Planets and Wackatdooo, 365, Move Mountain and the work of PES. We conclude with Approaches to Sound Construction and Out in the Field which furnish the reader with essential tips and advice on how to make their sound design as professional as possible.
