|
|
| |
This award is designated for student
sound designers of participating and associate entry KCACTF productions.
The overall purpose of this award is to provide student sound designers
with feedback and critiques from working professionals.
|
|
The KCACTF Sound Design competition
is focused on ideas that support a production and its concept, and not
on the equipment in the original venue.
|
| 1. |
Only student designers
from KCACTF participating and associate productions are eligible to participate
in this competition. Schools entering productions will inform the regional
chair and / or respondent of any student designers prior to the production.
The respondent will provide the regional chair and or design chair a written
response that indicates if the sound designer is a student. If the student
sound designer is nominated by a respondent or faculty member, he/she may
enter the regional sound design competition. Please provide the respondent
with email and contact information for all student designers. |
| 2. |
Only bona fide students
are eligible for this award. A bona fide student is one who, during the
initial time of screening was either (a) an undergraduate registered for
a minimum of six semester hours or nine quarter hours; (b) a graduate student
registered for a minimum of three semester hours or four quarter hours;
or (c) a continuing part time student enrolled in a regular degree or certificate
program. |
| 3. |
All design materials must
be labeled with: Title of production, act and scene, the designer’s
name, and the name of the institution. The designer’s address, phone
# and email address should be included on cases of CDs or minidisks. Make
sure any equipment is properly labeled (have serial and model numbers for
your protection). It is the designers’ responsibility to provide the
necessary insurance for any equipment used in the presentation. KCACTF and
its staff will not be responsible for lost, stolen, or damaged equipment. |
| 4. |
The student designer
will send or transport the design materials requested to the host of the
regional festival prior to the festival. Personal transport of sound design
materials is preferred. If a designer chooses to sip work, he/she is responsible
for developing a suitable method of shipping to the regional festival. Return
postage and packaging must be included for the work to be returned via mail. |
| 5. |
It is mandatory for you
to be present to receive a public critique session. The respondents will
have a better feel for your process if you can discuss your ideas with them. |
| 6. |
Below is a list of requested
materials. If a project does not include some of the requested materials,
don’t let this discourage or prevent your participation in the competition.
NOTE: Student sound designers may enter the design competition at the regional
festival regardless of whether or not the production is selected for presentation
at the regional festival. Student designers will be notified of the eligibility
to enter for the regional competition according to procedures of the region,
at the time of the initial screening by the respondent OR by the regional
design chair prior to the regional festival. |
|
Requested
Sound Design Materials for Presentation and LIMITATIONS:
|
| 1. |
Statement of intent (design
concept/approach – one page maximum) should be prominently displayed
in the presentation. |
| 2. |
A sample from the script
with cues and notes from meetings with the director. Display representative
production photos showing the world for which the sound was created. An
image book, collage, or sources of inspiration my be included. NOTE: All
photos should be properly annotated describing the scene from the play along
with its accompanying sound cue and/or effect. |
| 3. |
List sound choices with
pertinent recording information, artists, recording dates, and background.
If sound cues are engineered by the designer, explanation of methods and
types of equipment would be helpful for the respondents to understand the
student’s design process. NOTE: Process can be best documented by illustrating
how cues were built. Samples of layering one effect upon another can easily
communicate procedure. |
| 4. |
Paperwork such as sound
plot, board hook-up, speaker placement, etc. illustrating how the design
was implemented is critical. All drawing and schedules should be prominently
displayed (see below). |
| |
|
|
Marty Gallagher, professional
sound designer from Portland, Oregon will
be our guest during the KCACTF Region 5 Festival
http://home.earthlink.net/~mjgallag
|
| |
Sound effects may have
been recorded using any medium: CDs minidisks, etc. However, playback for
display purposes is LIMITED to Discman type (CD) portable minidisk, or small
book box players (CD or cassette type) via headphones or with no more than
two small external speakers. These speakers must be driven by the headphone
jack. No other playback equipment is permitted. Presentations must fit in
a 24” deep x 4’ wide table space. Additionally, a 4’ x 4’
wall space may be provided for display panels (photographs, collages, concept
statement, paperwork, etc.) No racks will be permitted for display. Tables
will be provided. Please not on the entry form if a table is required. NOTE:
Failure to comply with the above limitations will be grounds for disqualification.
|
| |
The KCACTF Sound Design competition
is focused on ideas that support a production and its concept, and not
on the equipment in the original venue.
|
| |
|
|
|
| |
|
| |
|
| |
|
|
| |
|
Brad Carlson, Photographer, January 21-26, 2003
|
| |
|
 |
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
