Sound Design Film

Why This Matters: Most marketers focus 90% on visuals and 10% on audio, when audio carries 50% of the emotional impact. Murch's principles, developed over 50+ years of filmmaking, transform ordinary video into compelling experiences.

What Claude Does vs What You Decide

What This Skill Does

1. Prioritizes sound elements - The correct hierarchy: dialogue → story sounds → music → effects → foley
2. Applies the Law of Two and a Half - Strategic layering for maximum impact
3. Creates authentic space - Worldizing technique for believable environments
4. Designs emotional arcs - Sound that supports narrative without calling attention to itself
5. Balances clarity and richness - Clean enough to understand, complex enough to feel real

How to Use

Design Sound for Video

Help me design the sound approach for this video:
[describe video content]
Emotional goal: [what should viewers feel]
Current audio: [what you have]

Review Sound Mix

Review this sound design approach and suggest improvements:
[describe current audio layers]
Issues I'm noticing: [problems]

Create Sound Brief

Create a sound design brief for my video editor/sound designer:
Video: [describe]
Brand: [tone/personality]
References: [similar work]

Instructions

When applying Murch's principles, follow this methodology:

Step 1: Establish the Sound Hierarchy

Murch's priority order for mixing—lower numbers take precedence.

## The Murch Hierarchy

1. DIALOGUE
   The spine of the piece. Everything else supports this.
   "If you can't hear what they're saying, nothing else matters."

2. KEY STORY SOUNDS
   The sounds essential to narrative comprehension.
   Examples: Phone ringing that starts the scene, door slam that ends it

3. MUSIC
   Emotional foundation and pacing.
   Supports but never competes with dialogue.

4. EFFECTS
   Environmental sounds, action sounds, transitions.
   Creates context and reality.

5. FOLEY
   Subtle human sounds: footsteps, clothing rustle, object handling.
   Adds life and presence.

---

Rule: Each layer yields to those above it.
Music ducks when dialogue begins.
Effects clear space for key story sounds.

Step 2: Apply the Law of Two and a Half

Murch's principle for complexity in sound layering.

## The Law of Two and a Half

"Beyond three similar sounds playing simultaneously,
something chemical happens—the brain stops tracking
individual elements and perceives a new, unified sensation."

### How to Use It

**For Realism**: Layer 3+ similar sounds
- City ambience: traffic + distant horns + pedestrians + AC hum
- Result: Feels like a real city, not "sound effects"

**For Clarity**: Stay under 3 elements
- Dialogue scene: voice + subtle music + room tone
- Result: Clear, focused, intelligible

**For Impact**: Cross the threshold intentionally
- Climax moment: Layer multiple hits, impacts, swells
- Result: Overwhelming sensation (use sparingly)

### Practical Application

| Scene Type | Recommended Layers | Example |
|------------|-------------------|---------|
| Dialogue-heavy | 2-3 | Voice, music bed, light ambience |
| Emotional peak | 4-6 | Voice, score, effects, foley, room |
| Transition | 1-2 | Music, light effects |
| Action | 4+ | Multiple effects, hits, music |

Step 3: Use Worldizing

Murch's technique for authentic acoustic space.

## Worldizing Technique

**What It Is**:
Play recorded audio through speakers in a real space,
re-record it with microphones to capture the room's acoustic character.

**Why It Works**:
Stock music and studio recordings sound "too perfect."
Worldizing adds the imperfections that make audio feel real and present.

### DIY Worldizing for Marketers

**Option 1: Physical Worldizing**
1. Play your music/VO through a speaker in the space you're depicting
2. Record with a microphone capturing room reflections
3. Blend with original for desired effect
4. Example: Music playing from a "radio" in scene

**Option 2: Digital Worldizing**
1. Use convolution reverb with impulse responses of real spaces
2. Apply room simulation plugins
3. Add subtle distortion/EQ to simulate speaker playback
4. Roll off highs and lows to simulate distance

**Option 3: Practical Recording**
1. Record actual room tone in your location
2. Layer beneath all other audio
3. This single element dramatically increases perceived realism

### When to Use

✓ Music that's "source" (playing in the world, not underscore)
✓ Flashback sequences
✓ Documentary-style content
✓ "Behind the scenes" feeling
✓ Any time you want audio to feel "there" vs. "added"

Step 4: Design Emotional Arcs

Sound should support the story's emotional journey.

## Sound-Emotion Mapping

### Build Your Arc

1. **Identify Key Emotional Beats**
   - What should viewer feel at 0:00? 0:30? 1:00? End?
   - Map the emotional journey

2. **Assign Sound Strategies to Each Beat**

   | Emotion | Sound Strategy |
   |---------|---------------|
   | Tension | Sustained tones, rising pitch, reduced elements |
   | Release | Musical resolution, fuller spectrum, exhale sounds |
   | Intimacy | Close mic perspective, reduced ambience, whisper range |
   | Power | Low end emphasis, layered impacts, space/reverb |
   | Joy | Bright frequencies, uptempo, organic sounds |
   | Melancholy | Minor keys, sparse arrangement, room tone |
   | Urgency | Fast pacing, compressed dynamics, clipping/distortion |

3. **Create Transitions**
   - Sound bridges between emotional states
   - Pre-lap audio (sound starts before visual cut)
   - Post-lap audio (sound continues after visual cut)

### Example: 60-Second Brand Film Arc