A workshop to inspire new visions about creation and to think about editing from the sound perspective.
A two days workshop focused in Sound Design. A place to think about how to use the sound as a tool narrative.
Registrations Open !! The accreditation to LAB SONIDO offers access to the Documentary Seminars and the screenings of The Documentary Week.
The workshop cost is USD150-. In Uruguay, members of ASOPROD, CADU, EOU, GREMIO CINE, UTU, UDELAR, ECU, UM have a promotional cost of USD 100-.
Daniel Yafalián (Uruguay). Composer and sound designer. He works in different areas of the sound for audiovisual production, as well as composing music for films. As sound director he has worked in”25 Watts”, “Whisky”, “Gigante”, “La vida útil”, “Hiroshima”, “El casamiento”, “El hombre nuevo”, “El círculo”, “Tanta agua” or “Avant”, among others. His work has been recognized with several awards, such as Best Soundtrack Coral Award in La Habana Film Festival (“La vida útil”), Best Music Tatú Award (Jornada Internacional de Cinema de Bahia); and Best Sound Award from ACCU (Uruguayan Film Critics Association) for his work in “3”, “El apóstata” and “Hiroshima”. He published the albums “Naturaleza muerta” in 2012 and “Paraísos Artificales” in 2015.
JULY 25 : THE CONSTRUCTION OF SOUND
Schedule: 14:30-18:00 | Venue: Zavala Muniz, Solis Theater.
From sequences of films and musics, used as a trigger, we will visit voices, sound landscapes and compositions to reflect on sound design.
With a prolific work in more than thirty films that have been recognized in festivals such as Cannes, Berlin, Rotterdam, San Sebastian, BAFICI or Guadalajara; Daniel Yafalian will analyze sequences of “Hiroshima” (Pablo Stoll), “El casamiento” (Aldo Garay), “La vida útil” (Federico Veiroj) and “Tanta agua” (Ana Guevara and Leticia Jorge) among others.
A session to inspire new visions about creation.
JULY 26 : DECONSTRUCTING THE POST-PRODUCTION
Schedule: 10:00-13:00 and 14:30-18:00 | Venue: CCE, Cultural Center of Spain.
Detailed analysis of the working sessions of some fiction and documentary projects (Hiroshima, Alpha Male Manual, Los enemigos del dolor), in order to analyze separately the elements that constitute the sound design (environments, dialogues, effects, music). Differences and particularities in the construction of a sound landscape for fiction, documentary, more experimental formats: comparative analysis of some examples (El Casamiento – Las flores de mi familia). The edition of dialogues as the last re-writing of the script. The problem of music. Considerations about the conventions in sound design and the use of music.
An instance to think about editing from the sound.