My earliest childhood memories are filled with fun trips to the movies with my family and friends. I remember all the amazing sounds of light sabers, laser blasts, and space explosions that made my heart race. I believed what I heard to be proof of the existence imaginary far off places, people, and things.

The magic of how those sounds were created has fascinated me ever since. Now as an adult, I want to be a pro audio professional that creates those powerful memories for future generations of moviegoers. The roles that interest me in a pro audio career are based around post production in television and motion picture studios. Foley artists use props to add detailed sounds by acting out each scene of a TV show or film. The sounds can include the crack of a twig being stepped on, a piece of paper being torn, rain drops in a puddle, and countless other details. Often during the filming process, the recording of some sounds are missed and must be added to the production later by the Foley artist.

Other sounds that might have been recorded during filming lack the clarity or depth needed and are overdubbed by the Foley artist. The dialog that the sound crew has recorded at the TV or film set is in it’s raw form. A dialog editor is needed to clean up the unwanted noises and to maintain or correct the ambient tones. Dealing with the sounds of wind, weather, and actors breathes part of critical job for the dialog editors. The audience needs the dialog to be clear and audible to be able to follow the characters in each story. Musical editors work with the music soundtrack to help create the director’s feel and pace of the TV show or film.

They work with composers to blend in their original work with the music already selected by the director for production. The timing of the music with the visuals is key to making viewers emotions stay connected to the story elements. Sound designers create the sound elements that are needed to bring imagination to life on TV and Film.

They will perform/produce as well as edit composed or recorded audio to fit the desired audio wanted by the director on a project. Unlike the Foley artist that works with making everyday sounds, the sound designer sometimes must create a never before heard sound to represent something on film. An alien baby crying, a monster breathing fire, a tornado of sharks, must be created in a way that fits the tone of the production. The sounds most of the audience has not ever heard before must be made believable. I hope to work as a Foley artist, a dialog editor, a musical editor and eventually as sound designer for TV and movies. The pro audio skills used in the major studios is why I am a student at C. R. A.

S. to learn the needed basics to work in the industry. I want to make amazing sounds that inspire kids to believe the impossible.