The components of the soundtrack – dialogue, atmospheres, Foleys, ADR, designed fx and music – are explored in detail using facilities rivalling those of the best audio post-production houses. With a firm emphasis on storytelling, students develop an aesthetic awareness integrated with technical expertise, encouraging them to be collaborators from an early stage in all productions and throughout the whole post-production process...
Masters in Performing Arts in Bristol in United Kingdom. Sound Design for Film and TV
The components of the soundtrack – dialogue, atmospheres, Foleys, ADR, designed fx and music – are explored in detail using facilities rivalling those of the best audio post-production houses. With a firm emphasis on storytelling, students develop an aesthetic awareness integrated with technical expertise, encouraging them to be collaborators from an early stage in all productions and throughout the whole post-production process.
In 2011, an NFTS student won the Verna Fields Award for Best Sound Editing in the student category of the US Motion Picture Sound Editors Golden Reel Awards. This is the ninth time a graduating NFTS student has won this award in the last fourteen years and, together with the demand for new graduates, demonstrates the esteem with which this course is regarded within the film and television industry.
Head of Post Production is Award-winning Re-Recording Mixer Dean Humphreys, who has worked with many of the world's leading directors, including Roman Polanski, Ridley Scott, Luc Besson, Bernardo Bertolucci and Franco Zeffirelli. Dean has also been the Sound Supervisor or Re-Recording mixer for major television series such as Kingdom (Stephen Fry) and Primeval, in addition to films including The Pianist (for which he won a César award), Interview With The Vampire, The Ghost Writer and Donnie Brasco.
Other tutors include Graham Hartstone (Aliens, Eyes Wide Shut, Die Another Day, The World is Not Enough), Paul Davies (We Need to Talk About Kevin, The Queen), Andy Kennedy (Game of Thrones, Sherlock Holmes, Harry Potter and the Half-Blood Prince), Adrian Rhodes (The Hollow Crown, Aardman's Pirates!, the Wallace and Gromit films) and Ian Morgan (Vinyl, North and South, Alien vs Predator).
Sound Designers Adrian Rhodes (The Queen, Wallace & Gromit: The Curse of the Were-Rabbit), Martin Jensen (The King's Speech, Atonement, The Fades), Paul Davies (We Need to Talk About Kevin, Hunger, The Queen), Miriam Ludbrook (The League of Gentlemen's Apocalypse, Sugar Rush), Stuart Hilliker (Jane Eyre, State of Play) and Lydia Andrew (Audio Director, Electronic Arts) studied at the NFTS.
The course represents a steady progression beginning with the basic technology and skills that underpin and support the creative process and ending with the responsibility for sound design on a range of graduation films. At each stage additional skills are added through specific workshops - e.g. music recording, to provide a comprehensive education that is of great value in understanding and communicating with other industry professionals.
Using the latest equipment and technology, students work as sound designers on fiction, documentary and animation projects developing their skills in digital tracklaying and mixing.
A series of exercises focusing on sound editing and mixing techniques Workshops with Editing and Composing students:
Abstract Film Workshop
Without Images - a sound-only project
Dramaturgy Workshop - focusing on script and script analysis, blocking and cover, and performance
Editing the Scene - editing a scene to learn the basics of scene structure
Short documentary - sound mixing
Zen and Beyond - fiction workshop focusing on visual storytelling
Documentary Poetry - exploring the use of non- synchronous sound and music
Animation projects - the application of music and sound effects
1st year Fiction film - collaborating with all other departments
Cross Spec - an introduction to film language and storytelling involving all departments
Investigative Documentary - sound post for the major 1st year Documentary production
Remixing the 1st year Fiction film tracks
Advanced editing, design and mixing techniques including surround sound mixing
2nd Year Fiction production, shot on a digital format
Graduation films in documentary, fiction and animation
On the short films and 2nd Year films, Sound Design students work as sound supervisors, creating the track from pre-production through to the mix.
Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.
In the Post Production department, we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. Applicants are likely to have some industry experience, or training in their chosen field. Your background may be in the arts or other media, you might be looking for a further professional qualification or wish to broaden your knowledge of sound production, taking you to a higher level of work.
Application materials must include visual materials (video or stills) with an associated soundtrack that you have constructed; and a sound montage including speech, that you have created and post-produced.
A DVD of no more than twenty minutes running time, which you have recorded and/or track laid and/or mixed. This can be from a longer work.
Those who do not have film/video experience: a narrative sequence of photographs, pictures or cartoons, with an associated speech, music and effects soundtrack recorded on audio CD, which demonstrates the way the applicant works creatively with the audio-visual relationship
A sound montage made by the applicant on audio CD of approximately 3 minutes running time. It should include speech, but should not be limited to speech.