Elaboración de bandas sonoras diseñadas desde la preproducción.

Abstract

My motivation to take on this work arose after having participated in various sound departments for audiovisuals. In many cases, I observed that sound directors are brought into an audiovisual project when the project and/or script are well advanced, and therefore, almost all decisions have already been made. So, my job as a sound engineer, already working from a nearly closed structure, was to see what contributions could be made through the use of sound. In some cases, I also resorted to addressing "fix-it-in-post" issues that dragged on during filming or resolving narrative issues with sound. While the different stages of production, in this case sound, have a creative component that is incorporated at the time, ideally, and to obtain a measured, controlled result that reciprocates with the image and contributes to the deeper narrative, the sound design should begin with the script. From a narrative perspective, the use of off-screen sound effects is interesting because they can synthesize and/or reinforce the intended story in a quick, effective, creative, and highly manipulable way when editing the sounds into the soundtrack. This paper aims to study the use of off-screen sound designed from pre-production onward. It will focus on effects, voices, and ambience to verify their effectiveness in audiovisual narration, thus helping to project and concretize an effective soundtrack design. Finally, this will be implemented, developed, and analyzed in the short film Mar (2018) by director Ramiro Ontiveros.