ABSTRACT
The reality of operating as a creative sound practitioner on television or feature film production is that a person rarely starts with a figurative blank canvas; and from the point at which the post-production sound department will be brought on to a project, often a temporary soundtrack will already have been born. A vertical axis moves from a state of ‘Calm’, through neutral at the origin, to ‘Aroused’; whilst a horizontal axis moves from ‘Unpleasant’, through neutral, to ‘Pleasant’ feelings. The use of the Mix Disc and the Mix Wheel neatly brackets the sound design process: at the initial stage, they are useful tools for recording soundtrack concepts with the Director, and represent an opportunity for the Sound Designer to begin structuring ideas, mapping the intended emotional journey and creating a sense of order towards the sound design aspect of the audio post-production process.
