Category: Specialising and Exhibiting

  • Exploring Sound Synthesis with Pure Data 

    Recently, I’ve been learning Pure Data and Bela, and trying to combine them to build my own noise box. The whole process is new but exciting to me, and it makes me gradually understand the structure and logic behind the world of sound. I started by designing the system on the Pure Data side. My…

  • Mixing and Delivering a Film

    After reading the chapter “Mixing and Delivering a Film” in Tim Harrison’s Sound Design for Film, I gained a deeper understanding of the film sound mixing process. Mixing is not just a technical task — it’s a creative decision-making process about how a story should be heard. The director, producer, sound designer, and re-recording mixer…

  • Sound Design in 

    Under the Skin Under the Skin is not just a visually interesting movie—its sound design is also very strong. The music is especially important. It doesn’t just set the mood; it shows the characters’ inner feelings and works with the images to tell the story. The movie uses ambient sounds, like city noise, office whispers,…

  • Ambience and Spatial Design: Sonic World of Mon Oncle

    Although the rhythm of actions is central in this Mon Oncle clip, the ambience is equally important in shaping the overall atmosphere. Tati’s visual world is usually clean, structured, and uncluttered, and he avoids dense or noisy environmental layers. For this reason, my approach to the ambience needed to strike a balance between “being present”…

  • Foley Experience

    While working on the Foley sound design for the film My Uncle, I realized that its sound language was much more complex than I had imagined. Jacques Tati’s films have very little dialogue — their emotion, rhythm, and humor all come from everyday sounds. So during the process, I wanted to use Foley to let…

  • Some notes on Pure Data

    There is also a small chord generator, but using multiplication to calculate the frequency of each note is cumbersome and prone to some errors, so it still needs improvement.

  • Foley Design in 

    We Need to Talk About Kevin During the Foley session, we worked on designing Foley for clips from this film. During the process, I realized that for different types of clothing in the footage, it is important to consider whether the sounds they produce should be so pronounced, as well as the importance of organizing…

  • Visual and Rhythm Analysis: Understanding the Structure of the Scene in Mon Oncle

    Before starting the sound design, I first did some visual analysis of the Mon Oncle clip I selected. Tati’s filmmaking style relies on long takes, wide framing, and carefully choreographed physical movement. Because of this, even scenes that look simple at first actually have a very clear sense of rhythm and structured actions. The clip…

  • Film Selection 

    In film, sound isn’t just background—it tells the story. Atmospheres and Foley convey emotion, bringing the audience closer to a character’s actions and inner world. When sound and image sync perfectly, every detail feels alive, often more powerful than the visuals alone. This “added value” turns sound from a simple accompaniment into a secret ingredient…

  • Blue Velvet

    David Lynch’s Blue Velvet depicts a seemingly quiet town that actually hides a dark side. Sound plays a key role in creating this contrast.At the beginning, soft music, birdsong, and everyday sounds like flushing toilets make the town feel safe and peaceful. As the story unfolds, the sound changes: strange noises, heavy breathing, and sudden…