The only way that we can live is if we grow. The only way that we can grow is if we change. The only way that we can change is if we learn. The only way we can learn is if we are exposed. To grow, you ought to pursue and acquire knowledge, especially if you have dreams to rise to the top and make an impact in your career field of interest.
What you don’t have you can’t give – garbage in, garbage out. In a bid to help film enthusiasts grow in their chosen area of specialization in filmmaking, the KAP Film & Television Academy initiative in association with USC School of Cinematic Arts and Netflix is pressing forward with a new course – Advanced Sound Post-Production but this time, with a collaboration with Avid – a software company that provides tools and technology for media creators.
The new session resumed on Wednesday 24th May 2022, and the objective of the course – Advanced Sound Post-Production is to bring state-of-the-art techniques, processes, and best practices of Cinematic Sound Design to Nigerian Cinema.
12 students have been shortlisted as beneficiaries of the Netflix all-paid scholarship just like with the previous course – Advanced Cinema Post-Production Workshop. The shortlisted students are:
- Anu Afolayan
- Minwon Metong
- Lydia Omorodion
- Promise Julius
- Oyinbra Fegha
- Oluwatosin Akinboboaye
- Ifeanyi Passion
- Todimu Adegoke
- Candace Jumbo-John
- Ugbede Atabo
- Aanuoluwapo Adenekan
- Adetoye Enikuemehin
This session will be facilitated by Stephen Flick and Richard Burton.
Richard Burton studied filmmaking at Columbia University where he began working in feature documentary production. A short stint in Television production led to Los Angeles where he was involved in the making of over 100 feature films, working with the likes of Jerry Zucker, Walter Murch, Stephen Summers, and Andy Davis, to name a few. Most of his work has revolved around sound and is dominated by post-production, editorial, field recording, and mixing. His early embracing of digital filmmaking beginning with The Usual Suspects and culminating in building his own Dolby Certified mix stage with the installation of an all-digital workflow, gives him a unique understanding of the technology as well as the processes of modern filmmaking. His work has been nominated for numerous awards and he is a recipient of several Golden Reels. He has taught at Loyola Marymount’s School of Recording Arts, as well as for the last 18 years at the University of Southern California’s School of Cinematic Arts where he is Head of the Sound Track in the Production Division
Stephen Hunter Flick is a multiple Oscar-winning Sound Designer with an esteemed career spanning 35 years, having worked on some of the most beloved films in modern Hollywood history. He employs traditional as well as cutting-edge techniques to create the modern soundtrack. Flick challenges the entire sound-effects team to work in a tight, collaborative manner, exchanging critiques, processes, and ideas to make the sound effects track more “organic” and logical to the sonic world of each picture. He comes from a background in music, puppetry, and college theater with a B.A. from San Jose State ‘71 Graduate Studies in Cinema USC ‘75. He continues to play Jazz Saxophone and Flute in some traditional and contemporary ensembles. He has taught Saxophone and Sound Design professionally and has been teaching at USC CINEMA since 2013.
Using materials from current Nigerian cinema and supplemental materials supplied, students will experience first-hand how to deal with common issues facing Production Recording, Sound Editing, and Re-Recording. The importance of open communication and collaboration between Directors, Picture Editors, and Sound Designers throughout the process will be discussed and explored. The students will learn fundamental topics like Script Analysis & Sound Design, Location Scouting, Proximity, Handing Off Materials, Post Editorial Sound, Sound Re-Design, Music & Sound Design, Re-Recording, the Mixing of Soundtrack, etc
The entire learning curve will be arched towards getting results. Students will finish with the basic skill sets that will elevate their sound work to a professional level and these foundational skills will allow them to progress further on their own as they continue to work in Sound Design.
The students will be expected to complete exercises outside of class time, which will be reviewed in class allowing students to develop collaborative methods of critique, furthering their ability to not only grow as individual sound designers but as a community of sound designers allowing for organic growth and evolution of the craft in Nigerian Cinema.
One at a time, filmmaking will be brought closer to the grassroots through the enthusiastic ones and African stories will be told in their purest forms, the child is becoming the father of the man and the man is blessed for it.