Debbie Smith is a renowned sound engineer and this month's Pulse College student success story. She has worked with many high profile artists and diverse projects from Carly Smithson and the Hot House Flowers to the Dublin Philharmonic Orchestra. Her depth of experience ranges from live theatre and studio sound as well as post production sound as well. In this month's student success story she will tell us how she managed to carve out a hugely successful career.
Q1. You hail from Galway, a county known for producing some great musicians. Did you always have a passion and understanding for music?
Absolutely, from an early age I loved music. I grew up in a house where on any given day you could hear anything from country, trad, rock and a bit of punk thrown in for good measure. Also in the early 90's there was a very vibrant music scene in Galway. There was such a buzz and live music of all genres pretty much everywhere you went. I was really immersed in this scene and probably didn't realise how much so until I joined the Pulse course which really confirmed my passion for music.
Q2. You finished school and went on to study architecture but you decided to follow your passion for music and studied sound engineering. What made you change direction?
Form an early age I always knew I wanted to work in music or at least music would play a major role in my life. Being 17 and living in Galway there were few courses if any available and only a couple of small studios. I went and got some work experience and loved it but there weren't any real career prospects there at the time so my second choice was architecture. During my second year I knew it wasn't for me and decided that I really wouldn't be happy working in any area other than music or sound. I took a year off, did some travelling and when I came home did some research and found out about Pulse. I started the course in 1995 and haven't looked back since. Funnily enough music and architecture seem a little like chalk and cheese. However in the past few years I have worked on some sound design/installations for theatre and I've been 'informed' that Goethe once said that "architecture was frozen music!"
Q3. What aspect of the course did you find the most useful in the real world work environment?
I think equal emphasis being placed on academic and practical learning are key. Applying what you learn as you go is crucial. During the course I was fortunate enough to receive an internship which meant working in the engine room before I'd actually finished college. This was fantastic as what you were learning in class in the morning you were seeing it actually happening in the studio the same day. The theory is there to inform the practical, unfortunately the practical is never predictable and that's where experience comes in.
Q4. How important was having a sound engineering diploma to you when applying for work in the industry?
At the time, there was a crossover phase from the traditional apprenticeship style training and actually having a third level qualification. I think it was important but possibly not crucial. However today it is vital. Technology has evolved so much, without a qualification and good working knowledge of technology and techniques used you simply would not get a look in the door.
Q5. You went on to work with Keystone which resulted in an internship in LA. What was that experience like?
It was amazing. During my time in the engine room I worked with Derek Gleeson who subsequently took over Keystone studios and approached me to be part of the team there. During my time in Keystone I had started to work with small orchestral ensembles and with Screen Training Ireland who in association with UCLA ran a film scoring programme for upcoming TV and film composers. This led to me working with Hollywood veterans Don Ray and Bob Drasnin and in turn led to the internship. Once I got to LA I was hooked. I got the opportunity to visit all the major sound stages and observe numerous sessions. The scale and the quality of these sessions were mind-blowing on every level.
Q6. You worked with some high profile clients from Carly Smithson (American Idol) as well as multi award winning scoring mixer Dennis Sands. It must have been an amazing learning experience, tell us about it.
After my initial internship in LA I returned to Ireland for a brief period. At the time I was working with Carly and she signed a record deal with MCA records in the States. I then went back to LA to work on the album. That really was a great experience as I got to meet and work with some fantastic songwriters and producers including Steve Dorff (Barbara Streisand, Celine Dion) and Rick Nowels (Madonna, Dido). I also got to work with some of the best session musicians in LA. Being in this environment and working with such talent proved to be a huge learning curve and source of inspiration.
Working with Dennis Sands was a great experience. He is such a wonderful and generous man and his credits are legendary. Spending time with Dennis, reaffirmed to me why I became a sound engineer and why clarity, passion, dedication, attention to detail and also an emphasis on interpersonal relationship are so important.
I feel that the time spent in LA has been invaluable to me. The standards and level of professionalism there are second to none and this is something I try to bring to every project regardless of budget or genre.
Q7. You have a lot of experience in post production from Anton (Fox Glove Films), Dvorak - New World Symphony DVD (Dublin Philharmonic), and Winter's End. Is there a completely different skill set needed?
The majority of my experience in post production comes from working on soundtracks including the projects mentioned above. I would say it's an extension of the same skill set rather than a completely different one. However, rather than the complete focus being on the music there are other elements to be taken into consideration e.g. within the soundscape the dialogue must always come first and depending on who is doing the final mix the battle between music and SFX continues! You must understand the relevance of each of these elements to the overall project. You're also dealing with different personalities including directors, producers and composers - so all these opinions have to be incorporated. Ultimately the director's vision prevails, but the input from all other members of the creative team must be taken into account and can sometimes benefit from a bit of mediation! It is important to keep focused on the bigger picture and not get caught up in smaller details or one particular view point.
Having also worked in post production on and off over the years on various TV series for RTE and TG4, I've found the discipline of working in this sector has made me more conscious of efficiency and productivity. The role here is much more technical as opposed to creative, with specific requirements to be met in a given time-frame. There are time restrictions and projects have to be delivered efficiently and to a high standard. You really learn to be disciplined in order to maximise productivity. I certainly know all my Protools shortcuts now!
Q8. What has been the most influential project that you have worked on to date, in terms of career and learning curve?
Each project varies so much and they all have their own challenges and their own unique opportunities. One experience that stands out was my first trip to Bulgaria. I was there recording Don Ray's Piano Concerto and also a new film soundtrack for American composer John Califra at the National Radio Centre in Sofia.
Whilst I had lots of experience at that point, it was the first time I'd taken on projects of this scale... in another country and in another language! Not only was I responsible for the audio recording, I also played a major role in the production. It really instilled in me the importance of being calm and collected: there is so much pressure and money on the line in these sessions and people can get tense and nervous. You really have to be prepared for anything and everything. It's really important to remain focused and confident. The language and cultural differences were also a challenge and certainly brought home to me the importance of having a strong team around you and the necessity for good people skills.
Q9. You do a lot of orchestral and trad work, for example you work with the Dublin Philharmonic Orchestra. Tell us a bit more about this.
My role with the DPO is twofold. First and foremost I am their main recording engineer and mixer.
These projects include recording standard classical repertoire, new works by contemporary composers and recording soundtracks. The approach for the classical repertoire is quite different to soundtracks. The balance should be there in the music and the conductor will control the dynamics and balance within the room so really your job is to capture this in the best way possible.
For soundtracks or dance shows the approach is very different, you are generally dealing with prerecorded synths and samples and sections of the orchestra are overdubbed. You are looking for a much cleaner tighter sound, which ultimately gives you much more control and scope for manipulation when you get to your final mix.
My other role with the DPO is overseeing and managing all their tech requirements while on tour. Last year we did a 10 week tour of the States which incorporated 49 venues, all of which had very different equipment and therefore every performance was like the first performance. In July of this year we were in China for 10 days. 2 of the concerts in Beijing were broadcast to approximately 400 million people I believe! My role here was sound supervisor and ensuring that what went live on air maintained the integrity of the performance.
While I really enjoyed this and had a great experience I don't think life on the road or on tour is really for me. I am happiest in the studio, for me it's more creative and rewarding...and sane!
So who knows, the DPO could be looking for a sound engineer to take on the road any time soon and I'm pretty sure the first port of call in that search will be Pulse.
Q10. Has the emphasis on orchestra and trad been a natural progression?
Definitely. Over the years, I have built some great relationships with different composers and artists I've worked with. These relationships are really important, a trust and respect develops and indeed in some cases I would say that we have grown together as these collaborations grow in scale and expectation. When such relationships evolve, our separate roles become more of a shared and larger experience and this has led to me taking on the role of producer.
The use of orchestral colours, textures and traditional instruments in new contexts is something that I have been engaged with particularly in recent years. While there are always challenges, the innovation that is required is exciting and leads to the development of new techniques and approaches.
Due to the nature of this business and budget limitations in recent times, you need to be versatile now more than ever.
Q11. What is the most useful tool that has helped you in your successful career to date?
Having started out on analogue tape and having worked through the crossover into all things digital I feel the training and discipline of those early days has proved vital. Due to the restrictions of the technology back then you were forced to be decisive, creative and resourceful. You did not have the option to hold multiple takes and decide later on the take or "leave it and we'll sort it in the mix".
Whilst the versatility of new technology is amazing it is only as powerful and creative as the person operating it.
Q12. What are the top tips you can give students who are about to embark on a career in the music industry?
I really feel you have to be passionate about working in this industry. Also people skills and diplomacy are extremely important.
Be adaptable, flexible and open to learning. The day you think you know it all is probably the day to call it a day.
Oh and don't forget - keep your sense of humour, there are times when it is really is your best friend!
Thursday, January 6, 2011
Monday, December 20, 2010
Friday, December 17, 2010
Past Pupil Profiles: Kieran Lynch
This month we talk to Kieran Lynch, a Pulse College graduate from the Audio Diploma who has gone to carve out a substantial career in both Music and Film. He is currently involved in music production for the TG4 series "Siog Na Rann", an animation which involves a number of Ireland's best known singers. Current projects include engineering for emerging singer songwriter Eugene Donegan's debut album and recording tracks for renowned Irish songwriter Paul Brady. He also worked on Declan O'Rourke's much anticipated second album "Big Bad Beautiful World". His career highlights to date include the latest multi-million selling U2 album "How To Dismantle An Atomic Bomb", as well as REM and Damien Dempsey. He engineered the top 10 swansong "Superbi", by The Beautiful South and was involved in the production of the Grammy Award nominated Elvis Costello albums "When I Was Cruel" and "Cruel Smile". He has also mixed tracks for The Corrs and the critically acclaimed debut album "Life Sparks" by Woodstar. He not only has extensive studio experience, Kieran is responsible soundtracks for both film and TV credits include Hollywood block-buster "Get Rich or Die Trying" and further engineering/production duties on "The Tailor of Panama", "Ella Enchanted", "In America" and "The Water Giant 2", as well as Independent Films such as "Spin The Bottle" and the award winning "Kisses and Alarm". We are delighted he found time to talk to Pulse College News.
Q1: You were born and bread in Donegal was their much musical influence growing up?
A: Apart from learning to play the tin whistle my main musical influence as a kid was my younger brother who's an amazing guitarist! I listened to the radio a lot and always veered towards buying alternative music like The Cure, Death Metal and early Acid House.
Q2: Was music an area you always wanted to work in?
A: No, not really. I loved music, like any teenager growing up; but never thought it could actually be my job!
Q3: What style inspires you from a musical perspective?
A: I love music that has honesty and originality. It doesn't have to be perfect it just needs to come from the right place.
Q4: You studied Audio Pulse College what made you choose Pulse?
A: I studied electronic engineering in UCD from 1990 to 1996 where I received a primary and masters degree. When I left college there weren't many jobs around and I wasn't really in to being a software engineer. I had no idea there were courses in sound engineering until a friend of mine applied to Pulse. I signed up the following year in '98.
Q5: Pulse College is known for its hands on practical approach to learning, what area of the course did you find most beneficial in what is now a highly accomplished career?
A: To be honest, I loved every second of it; both the practical and academic aspects. I'm not sure if you cut tape there anymore but I loved the 1/4" editing projects which helped me a lot when I moved on to working with 2" tape and again when everything went digital. It was actually surprising how well those projects prepared me for editing in the digital domain.
Q6: Tell us about your career in the beginning, was it tough starting off?
A: I started working as a tape op in Pulse with Jeremy Ross and Maeve Buckley (who's now Maeve Lynch) the year I finished the course. We had great fun working there and met a lot of amazing people coming through the studio. I moved to Windmill Lane in 1999 and worked there for a further three and a half years as the tape op in studio 1. All this time we were working 80-100 hours a week for little money. We didn't care though the experience was fantastic and far outweighed the monetary rewards. Besides, we were having the time of our lives!
Q7: You have worked with some high profile artists from REM to The Beautiful South. How did you manage to create a name for yourself within the industry, was it by word of mouth and perseverance or good luck?
A: I know people who have been lucky in this business or been in the right place at the right time and their careers have taken off. I've just had to work hard. When I left Windmill Lane in 2002 it was pretty scary as a freelance engineer. The industry was changing fast and I was starting from scratch, trying to build up a client base. Windmill Lane were good to me; when I left they put work my way as an engineer, helping me get somewhat established. I just went from job to job through recommendations and word of mouth, that way you're really only as good as your last gig.
Q8: REM, The Beautiful South, U2 and Damien Dempsey quite diverse sounds. How do you decide what approach to take when producing their albums?
A: Engineering and producing are two very different disciplines, When I'm engineering for a producer I'm only concentrating on the sound, trying to capture the performances as truthfully as possible, based on what the band and producer are looking for. Of course you need to be able to record things in a more specific way if someone says "can you make the drums sound like Fleetwood Mac" or "can you get me a Marquee Moon guitar sound". When I'm producing I'd rarely have an engineer there so I'll have to do both jobs. Producing, for me, is not about moulding an artist or band to sound a certain way but more an attempt to realize their music in an honest and interesting way. I always try to get the artist or band to perform in as live a situation as possible. This usually results in a recording that sound more cohesive and definitely more believable.
Q9: You worked on U2 album "How to Dismantle an Atomic Bomb". That must have been an amazing experience, can you tell us a bit about it?
A: It was. I was working with producer Flood for three months during the mixing of the album. When I say mixing it also involved a lot of recording and editing. The bands are great to work with and their studio is a very inspiring place. They work really hard and don't stop until the songs are right. Anyone can pick up an instrument or microphone at any time and you need to be recording the performance in a matter of seconds. We were working in the main studio on the old Neve and the work involved sifting through the many different interpretations of songs on their Radar system and compiling and mixing the final version. We mixed four or five of the songs while Steve Lillywhite and Jackknife Lee were working on the rest in studios elsewhere in the building. The atmosphere on a U2 record is always electric; every day has different and challenging moments and you need to be on top of your game to stay ahead of the band.
Q10: You coproduced Elvis Costello's Grammy award winning album what an achievement, how did it feel?
A: Yeah, it was strange really. Again, I was working as a tape op in Windmill Lane at the time and I was told Elvis was coming in to record an album. Then I discovered two of my friend, Ciarán Cahill and Leo Pearson were going to be engineering and producing the album. I guess because I knew these guys so well I ended up doing a bit more than the average tape op gig. The album was amazing, the band just played the songs down two or three times onto tape, they came in, had a listen and picked the take. It all happened very quickly with overdubs recorded shortly after the band were tracked. Elvis sang the majority of the vocals in the control room with a beta 58, again, three or four takes and it was done. We all worked so well as a team that Elvis decided to split the production credits equally. It did feel great when the album got the Grammy nominations.
Q11: You work in both Post Production as well as Studio Mixing two quite different disciplines, Can you talk us through the differences in the skills you need?
A: At the moment I'm working on the sound post for a feature film. The disciplines are quite different; post work is more of a technical field and not so performance driven, bar the mixing. In film and TV the dialogue is king. It's all about making it clear and present, the FX are usually second and the music generally a background thing unless of course it's a music programme or a montage section in a film. The technical standards for operation and calibration are quite strict in both TV and film. You need to learn how to work within these standards when mixing to ensure your mix transfers correctly to cinema and broadcast.
Q12: Do you have a preference?
A: My thing is music. I love recording bands and artist in the studio. This also goes for soundtracks which are different but also very rewarding in terms of production and results.
Q13: You have also been involved in producing many sound tracks for some of Hollywood Blockbusters, Ella Enchanted for example. Is that very different from producing albums?
A: The approach is quite different. With albums you're generally presented with a set of songs. You develop them, record them and mix them but rarely are you presented with a blank canvas in the studio. With a soundtrack you start with a cut of the film and spot the music cues with the director and composer. Once all the parts of the film that need music have been identified, you go to work with the composer creating the sound scape that best realizes the vision of the director. It's important to understand that you're there to facilitate the director’s needs and not your own musical ego. The best soundtracks are those that don't distract, but subtly enhance what's happening on screen. I think it's always better to score for the secondary emotion in a scene as opposed to the obvious events that are happening.
Q14: What has been you career highlight to date?
A: Of course I've enjoyed working with a lot of really great musicians from all around the world. I'm also very proud of a number of albums I've produced for artists such as Larla O'Lionaird, O Emperor and Star Little Thing.
Q15: Any future plans in the pipe line that you can disclose?
A: I've just finished production of the soundtrack for a new film called The Good Doctor, directed by Lance Daly and starring Orlando Bloom. I should be working on new material with O Emperor in the new year.
Q16: What advice would you give to students starting their career in such a competitive Industry?
A: Be dedicated and look after you ears!
Q1: You were born and bread in Donegal was their much musical influence growing up?
A: Apart from learning to play the tin whistle my main musical influence as a kid was my younger brother who's an amazing guitarist! I listened to the radio a lot and always veered towards buying alternative music like The Cure, Death Metal and early Acid House.
Q2: Was music an area you always wanted to work in?
A: No, not really. I loved music, like any teenager growing up; but never thought it could actually be my job!
Q3: What style inspires you from a musical perspective?
A: I love music that has honesty and originality. It doesn't have to be perfect it just needs to come from the right place.
Q4: You studied Audio Pulse College what made you choose Pulse?
A: I studied electronic engineering in UCD from 1990 to 1996 where I received a primary and masters degree. When I left college there weren't many jobs around and I wasn't really in to being a software engineer. I had no idea there were courses in sound engineering until a friend of mine applied to Pulse. I signed up the following year in '98.
Q5: Pulse College is known for its hands on practical approach to learning, what area of the course did you find most beneficial in what is now a highly accomplished career?
A: To be honest, I loved every second of it; both the practical and academic aspects. I'm not sure if you cut tape there anymore but I loved the 1/4" editing projects which helped me a lot when I moved on to working with 2" tape and again when everything went digital. It was actually surprising how well those projects prepared me for editing in the digital domain.
Q6: Tell us about your career in the beginning, was it tough starting off?
A: I started working as a tape op in Pulse with Jeremy Ross and Maeve Buckley (who's now Maeve Lynch) the year I finished the course. We had great fun working there and met a lot of amazing people coming through the studio. I moved to Windmill Lane in 1999 and worked there for a further three and a half years as the tape op in studio 1. All this time we were working 80-100 hours a week for little money. We didn't care though the experience was fantastic and far outweighed the monetary rewards. Besides, we were having the time of our lives!
Q7: You have worked with some high profile artists from REM to The Beautiful South. How did you manage to create a name for yourself within the industry, was it by word of mouth and perseverance or good luck?
A: I know people who have been lucky in this business or been in the right place at the right time and their careers have taken off. I've just had to work hard. When I left Windmill Lane in 2002 it was pretty scary as a freelance engineer. The industry was changing fast and I was starting from scratch, trying to build up a client base. Windmill Lane were good to me; when I left they put work my way as an engineer, helping me get somewhat established. I just went from job to job through recommendations and word of mouth, that way you're really only as good as your last gig.
Q8: REM, The Beautiful South, U2 and Damien Dempsey quite diverse sounds. How do you decide what approach to take when producing their albums?
A: Engineering and producing are two very different disciplines, When I'm engineering for a producer I'm only concentrating on the sound, trying to capture the performances as truthfully as possible, based on what the band and producer are looking for. Of course you need to be able to record things in a more specific way if someone says "can you make the drums sound like Fleetwood Mac" or "can you get me a Marquee Moon guitar sound". When I'm producing I'd rarely have an engineer there so I'll have to do both jobs. Producing, for me, is not about moulding an artist or band to sound a certain way but more an attempt to realize their music in an honest and interesting way. I always try to get the artist or band to perform in as live a situation as possible. This usually results in a recording that sound more cohesive and definitely more believable.
Q9: You worked on U2 album "How to Dismantle an Atomic Bomb". That must have been an amazing experience, can you tell us a bit about it?
A: It was. I was working with producer Flood for three months during the mixing of the album. When I say mixing it also involved a lot of recording and editing. The bands are great to work with and their studio is a very inspiring place. They work really hard and don't stop until the songs are right. Anyone can pick up an instrument or microphone at any time and you need to be recording the performance in a matter of seconds. We were working in the main studio on the old Neve and the work involved sifting through the many different interpretations of songs on their Radar system and compiling and mixing the final version. We mixed four or five of the songs while Steve Lillywhite and Jackknife Lee were working on the rest in studios elsewhere in the building. The atmosphere on a U2 record is always electric; every day has different and challenging moments and you need to be on top of your game to stay ahead of the band.
Q10: You coproduced Elvis Costello's Grammy award winning album what an achievement, how did it feel?
A: Yeah, it was strange really. Again, I was working as a tape op in Windmill Lane at the time and I was told Elvis was coming in to record an album. Then I discovered two of my friend, Ciarán Cahill and Leo Pearson were going to be engineering and producing the album. I guess because I knew these guys so well I ended up doing a bit more than the average tape op gig. The album was amazing, the band just played the songs down two or three times onto tape, they came in, had a listen and picked the take. It all happened very quickly with overdubs recorded shortly after the band were tracked. Elvis sang the majority of the vocals in the control room with a beta 58, again, three or four takes and it was done. We all worked so well as a team that Elvis decided to split the production credits equally. It did feel great when the album got the Grammy nominations.
Q11: You work in both Post Production as well as Studio Mixing two quite different disciplines, Can you talk us through the differences in the skills you need?
A: At the moment I'm working on the sound post for a feature film. The disciplines are quite different; post work is more of a technical field and not so performance driven, bar the mixing. In film and TV the dialogue is king. It's all about making it clear and present, the FX are usually second and the music generally a background thing unless of course it's a music programme or a montage section in a film. The technical standards for operation and calibration are quite strict in both TV and film. You need to learn how to work within these standards when mixing to ensure your mix transfers correctly to cinema and broadcast.
Q12: Do you have a preference?
A: My thing is music. I love recording bands and artist in the studio. This also goes for soundtracks which are different but also very rewarding in terms of production and results.
Q13: You have also been involved in producing many sound tracks for some of Hollywood Blockbusters, Ella Enchanted for example. Is that very different from producing albums?
A: The approach is quite different. With albums you're generally presented with a set of songs. You develop them, record them and mix them but rarely are you presented with a blank canvas in the studio. With a soundtrack you start with a cut of the film and spot the music cues with the director and composer. Once all the parts of the film that need music have been identified, you go to work with the composer creating the sound scape that best realizes the vision of the director. It's important to understand that you're there to facilitate the director’s needs and not your own musical ego. The best soundtracks are those that don't distract, but subtly enhance what's happening on screen. I think it's always better to score for the secondary emotion in a scene as opposed to the obvious events that are happening.
Q14: What has been you career highlight to date?
A: Of course I've enjoyed working with a lot of really great musicians from all around the world. I'm also very proud of a number of albums I've produced for artists such as Larla O'Lionaird, O Emperor and Star Little Thing.
Q15: Any future plans in the pipe line that you can disclose?
A: I've just finished production of the soundtrack for a new film called The Good Doctor, directed by Lance Daly and starring Orlando Bloom. I should be working on new material with O Emperor in the new year.
Q16: What advice would you give to students starting their career in such a competitive Industry?
A: Be dedicated and look after you ears!
Tuesday, December 14, 2010
Friday, December 3, 2010
Pulse College/Windmill Lane Recording with Today FM's Ray vs. JP – are Top 10 in the battle of the singles!
Award winning Today FM radio presenters Ray Foley and JP have made it to the Top Ten in the iTunes chart in just two day of the release of their charity single. With the help of Pulse College and Windmill Lane Recording Studios this is all in the name of two great charities CASA and St Frances Hospice Raven.
Ray will take on the classic pop number "There's a Whole Lot of Loving" by Guys and Dolls (covered by Irish popsters Six) accompanied by the Dublin Gospel Choir.
JP however has decided to tackle "Nothing's Gonna Stop Us Now" by Starship, with the help of singer Nikki Kavanagh.
Listeners can download their favourite song for a small donation, and money raised goes to charities CASA and St Frances Hospice Raheny. Whichever presenter raises the most money with their download will be declared the winner.
The two presenters recorded their songs in the iconic Studios at Windmill Lane, where pros from Pulse College and Windmill Lane Recording Studios were on hand to help transform their songs into chart toppers.
Audiences can to download their favourite tracks from iTunes and 7digital. Stay tuned to the Ray Foley show 12 to 2.30pm weekdays on Today FM for updates or see link below.
http://www.todayfm.com/Shows/Weekdays/Ray-Foley/Download2Donate.aspx
Thursday, November 18, 2010
Pulse College Students join forces with the iconic Dionne Warwick for Peace Day
Pulse College students were this month given the amazing opportunity to collaborate with legendary names in the music industry from the iconic Dionne Warwick to Noel Eccles and Julie Feeney in the making of documentary "A Peace of Music". Gr´ Mór Phonic Records and Tarmak Films embarked on this epic musical documentary shot in the world famous Windmill Lane Studios in support of Peace One Day.
"Peace of Music" was the brain child of Claire Czajkowska who has been working as an artist in the music industry for over 12 years when she decided to embark on this ambitious project.
"I decided to make a documentary. I would find a great studio, and invite a group of teenagers to come and discover for themselves how the music they love is made, with the people who make it, and we would do this in support of "Peace One Day" and their campaign to raise awareness. After all, all change begins with awareness…" says Claire.
The documentary which was shot, edited and directed by Dana Kahil is due to be released in November. Pulse college students Mark Symmons, Eoghan McKenna and Barry Gibbons were involved in all aspects of making the documentary from lighting, camera and sound. Barry Gibbons took the time to give us a unique insight into what it was like working with such musical icons.
"During the summer I got the fantastic opportunity to do location sound for "Peace of Music" filmed in Windmill Studios. As I am currently a student in the Film Production Course (part-time) at Windmill Lane Studios it was a fantastic opportunity to gain practical experience by assisting in this production.
On the day I had the opportunity to work with world class artists in addition to working in a professional real world environment. Over the course of the day I was worked on the sound for the production. Using radio mics I was responsible for mic'ing up the artists and presenters taking part in the production. We also used the boom mic for any additional sounds that needed to be sent to the four channel mixer. This was mixed down to get a nice signal and then bounced down to two tracks, which in turn was sent off to the HD Cameras. Taking part in this production expanded my skill set and has offered me invaluable experience for my future in the film and production industry. I look forward to completing my studies and entering the industry as a professional through the expertise I gained as a student of Pulse College and future productions such as "Peace by Music". Barry Gibbons, Film Student.
The aim of the project is to raise awareness and enhance the profile of International Peace Day, an official day of non-violence and ceasefire which takes place yearly on the 21st September. The event has already had a huge impact all over the world and has allowed aid to be brought into areas of conflict that had been too dangerous to access for decades.
The day was thought of and made a reality by Peace One Day founder Jeremy Gilley (www.peaceoneday.org) and has had such an impact it was made official event by the United Nations in 2001. You can get a sneak preview of the documentary through the link below.
http://vimeo.com/14896621
"Peace of Music" was the brain child of Claire Czajkowska who has been working as an artist in the music industry for over 12 years when she decided to embark on this ambitious project.
"I decided to make a documentary. I would find a great studio, and invite a group of teenagers to come and discover for themselves how the music they love is made, with the people who make it, and we would do this in support of "Peace One Day" and their campaign to raise awareness. After all, all change begins with awareness…" says Claire.
The documentary which was shot, edited and directed by Dana Kahil is due to be released in November. Pulse college students Mark Symmons, Eoghan McKenna and Barry Gibbons were involved in all aspects of making the documentary from lighting, camera and sound. Barry Gibbons took the time to give us a unique insight into what it was like working with such musical icons.
"During the summer I got the fantastic opportunity to do location sound for "Peace of Music" filmed in Windmill Studios. As I am currently a student in the Film Production Course (part-time) at Windmill Lane Studios it was a fantastic opportunity to gain practical experience by assisting in this production.
On the day I had the opportunity to work with world class artists in addition to working in a professional real world environment. Over the course of the day I was worked on the sound for the production. Using radio mics I was responsible for mic'ing up the artists and presenters taking part in the production. We also used the boom mic for any additional sounds that needed to be sent to the four channel mixer. This was mixed down to get a nice signal and then bounced down to two tracks, which in turn was sent off to the HD Cameras. Taking part in this production expanded my skill set and has offered me invaluable experience for my future in the film and production industry. I look forward to completing my studies and entering the industry as a professional through the expertise I gained as a student of Pulse College and future productions such as "Peace by Music". Barry Gibbons, Film Student.
The aim of the project is to raise awareness and enhance the profile of International Peace Day, an official day of non-violence and ceasefire which takes place yearly on the 21st September. The event has already had a huge impact all over the world and has allowed aid to be brought into areas of conflict that had been too dangerous to access for decades.
The day was thought of and made a reality by Peace One Day founder Jeremy Gilley (www.peaceoneday.org) and has had such an impact it was made official event by the United Nations in 2001. You can get a sneak preview of the documentary through the link below.
http://vimeo.com/14896621
Tuesday, October 26, 2010
Pulse Student Eabha Hennessy receives City and Guilds Bursary 2010
Pulse College are delighted to announce that Eabha Hennessy was the lucky student nominated to receive the City and Guilds Bursary for 2010. Each year, only eight different countries are selected where the bursaries will be made available and Pulse College is proud to be the chosen institution for Ireland.
As a result of the City and Guilds Bursary programme Eabha will have her college fees fully paid for 2011. The funds were handed over at an official presentation at our Windmill Lane facilities by Kerry McLennan-McKenzie, Product Manager for Photography, Media and Exercise & Fitness at City & Guilds.
In order to qualify the winner had to meet the strict City and Guilds criteria as well as a rigorous interview process. Eabha took the time out from her busy college schedule to tell us what receiving the bursary means.
"I applied for the city and guilds bursary because I didn't have the finances to go on and complete my course. I thought that the bursary was a great opportunity for someone who wanted to finish the course but just couldn't afford it. I applied and went forward for the interview. I didn't really know how to prepare because I didn't have a lot experience with panel interview. I just tried to explain my situation clearly and how the bursary would help me. There were a few tricky questions asked in the interview, one of those questions was to give 3 words to describe your life now and then your life in 5 years. I found this difficult as there's no real right or wrong answer, so I just took my time answered and it honestly. The interview flew by, I didn’t really expect to get the bursary as there was a lot of competition for it. I was shocked when I found out I got it, it took a bit of time to sink in but I'm delighted to get this opportunity and I intend to make the most of it." Eabha Hennessy, City and Guilds Bursary Winner.
The International bursaries are granted to cover the tuition and assessment fees leading to the completion of one level of a City & Guilds international qualification. This is part of City and Guilds commitment to the local communities, and enables individuals from financially underprivileged backgrounds around the world to obtain a City & Guilds qualification.
"We are delighted that Eabha was chosen to receive the City and Guild’s Bursary for 2010. It is an amazing opportunity and we would like to thank City and Guilds for investing in and supporting Irish students". Naomi Moore, Pulse College Director.
This announcement comes on top of the Leonardo funding Pulse received, which allowed the college to provide funded work placements in some of the top UK recordingstudios for some of their outstanding students.
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