Angelo Raguso explains how to become a Sound Engineer and work for movies
Angelo Raguso, Italian musician from the province of Taranto, releases an interview for the readers of the Medium.com website.
Raguso reminisces about the past by offering insights into the role of sound in the audiovisual industry and dwells on the importance of the “painstaking work” done by the sound editor.
The sound engineer is — for most people — almost an “invisible element” in audiovisual productions. What is the added value of a capable sound designer?
A good sound designer greatly amplifies the power of the video. However, the merit, in and of itself, also goes to the nature of sound. The image is visible; listening, on the other hand, leads one to imagine, to fantasize about invisible scenarios. If we reflect, in fact, the message of an image can be enhanced or reinvented with sound, but not vice versa. You do not need images to fully appreciate a beautiful music. Sound is enough for itself.
What do you think are the new challenges for a sound designer today? How do you think your profession will evolve?
I’m not going to give an opinion, because I think it’s difficult to make revolutions. I start from an assumption: the great turning point in cinema came with Eisenstein, or more generally with the invention of editing. The remaining innovations seem to me to be negligible in comparison. The new challenge? Well, it might be to look at the whole industry from a new angle, as happened when editing itself was introduced. A challenge for a sound designer as well as for filmmakers in general.
What have you been working on recently?
I’ve been music editor for 7 episodes of the Netflix series Cobra Kai, worked on a few episodes of the S.W.A.T series, served as music-supervisor for the SEAL Team series, supervised The Faith Club, handled the sound mixer for the children’s film Baby Boss 2, sound-editor for the Marvel series Loki, and many other upcoming television series and films, including Scream 2
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