Sound Design Q&A: Creative Process, Tips & Business Insights

[@wallbangersplace9873]

Thank you Robert. You are a gift to sound designers and the industry.❤

[@RobertDudzic]

Thank You😊

[@AndromedaX8]

Thank you Robert, this was super interesting! Congratulations on the start of this great new series!

[@RobertDudzic]

Thank you, I’m glad yo like.

[@processrebel]

Thanks Robert! Congratulations on the launch of this new series!

[@RobertDudzic]

Thank you so much, I'm excited about it too!

[@johnmckenna5404]

So glad I’ve found your channel Robert! Enjoying watching your creative process and how you’re creating such unique sounds…really amazing. Appreciate it you sharing your work and making these videos.

[@RobertDudzic]

Thanks so much! Glad you're enjoying it. 😊

[@a2roland]

Thank You Sir!, for sharing your insights!

[@RobertDudzic]

Glad you found it helpful!😊

[@AxelRoBa]

Super interesting insights, thanks for sharing!

[@RobertDudzic]

Thank You, new video coming this Friday😊

[@Ambient_Sound_Captures]

Really interesting, thanks !

[@RobertDudzic]

Thank you, I’m glad you like.

[@BenElliottSound]

Thank you so much for featuring my question, Robert! Your answers are incredibly helpful!

[@RobertDudzic]

You’re very welcome, I’m glad you found it helpful 😊

[@MickBenjamins]

Such an awesome video, thanks for sharing your passion and knowledge!

[@RobertDudzic]

Thank you Mick, new one coming this Friday.

[@prodbyv0id]

Love your work Robert! 🔥

[@RobertDudzic]

Thank You.

[@LookingForSounds]

Cool. Thanks Robert. Happy Xmas.

[@RobertDudzic]

😊🎄

[@federicoprice2687]

Fascinating! Thank you Robert! 😊😊😊

[@RobertDudzic]

You are very welcome😊

[@iocomposer]

I see a lot of confusion about the role of sound designers and the concept of functionailty we serve in the film industry. A lot of people seem to think of sound design as an adjunct to music composition which, in a sense unrelated to film sound workflows certainly can be, but from my perspective as someone who functions as a sound designer on movies, I just don't see it that way. If I'm a sound designer on a film, that means that I am responsible for the shape of the entire soundscape, mostly functioning (but not limited to) the FX/Foley/BG side of the stage. If I'm working as an FX Editor, I design a lot of sound FX because much of the time the things that I need to shape sounds for are not available in an existing library but that doesn't necessarily give me the credit of "Sound Designer" on a film. That credit is reserved for someone higher up in the food chain. That said, if I'm a Sound Designer on a film, I'm also an FX editor. These are important distinctions to understand if you're looking to exist in these well-established production constructs. On that note, if you're working for a composer and you're creating a lot of music adjacent sound design in a score that conflict with the sound effects that the sound crew are crafting, there's a high likelihood that those sounds will be thrown out or worse, create an unnecessary political environment on the dub stage.

[@RobertDudzic]

Hi Jamey, Thank you for your feedback! This is exactly the kind of insight I was hoping to hear from someone like you, who is deeply involved in the business and understands how things work in practice. Sound design today has evolved far beyond where it was 10 years ago. The combination of synthetic sound design and original recordings provides composers with unique elements that act like spices, adding an extra layer of flavor to their scores and making them truly stand out. It’s often the small, intricate sound details that can have a huge impact on the final score. I’ve contributed to several highly successful sample libraries, including DAMAGE and DAMAGE 2, which are widely used by composers around the world. These sounds are crafted to have a musical value that avoids clashing with post-production sounds or dialogue in films. Achieving the right balance is essential-sound design should never be overproduced. It needs to leave enough space for post-production teams to position it properly within the mix while still maintaining its distinct presence. Ultimately, it’s up to the composer to decide how to use the stems of the sound design in their composition. Hearing the final project and discovering how the mix turned out is always an incredible experience for me. I’m often amazed at how my sounds are utilized to contribute to the overall impact of the final project. Thank you again for sharing your thoughts-it’s invaluable to hear feedback from someone who truly understands the craft. Robert.

[@iocomposer]

@@RobertDudzic My pleasure. You do great stuff, Robert. I'm very glad that I stumbled upon your channel. Subscribed!

[@RobertDudzic]

Thank you, Jamey, for your kind support! I’d absolutely enjoy connecting over a video call to share our experiences from working on various projects. I’m sure we both have some fascinating stories to exchange, and open communication like this is how I continually learn and grow through the incredible friends I’ve met across social media worldwide. If you have some free time, I’d love for you to check out my latest synth design, which is featured in Lorne Balfe’s score for Carry-On, now available on Netflix. Robert

[@johnharveyiii3459]

Robert can you do a release with Native Instrument where you have a usable GUI instrument (Dudzic Instrument) but instead of having your samples in it there is a drop your own files/sounds into the player. Sort of like what Keep Forest does in some of there instruments like Devestator. It would be amazing to drop multiple sounds in and use this instrument as a creative sound design tool. Your BCA instrument is great but a function to load our own samples with a great GUI and the NI filters and FX easily accessible would be amazing - Harvey

[@RobertDudzic]

Everything is possible 😊

[@crystalz-h1d]

Legend

[@oley635]

Bardzo szkoda że nie ma polskich napisów.

[@RobertDudzic]

You should change your KZbin settings and CC will translate to Polish😊