During my first year of film school, my teacher would assign a great task to all her students during a post-production and sound course.
The assignment was a unique redubbing exercise, stripping the audio and initial sound mix from pre-existing film scenes. The goal of the activity was to practice the art of foley and sound-mix.
We were given a choice to complete a brand new audio master of a select one-minute scene from either Agnès Varda’s “Clèo from 5 to 7,” Andrei Tarkovsky’s “Stalker,” and Guillermo del Toro’s “Pan’s Labyrinth.” The exercise would later help open doors for the class to discover the extensivity and boundless freedom of the sound mix; how the absolute personification and given context of a visual piece of footage can be.
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