Talk:Director of audiography

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The existence or non-existence of the role of DOA and SD in filmmaking is a matter of opinion since these roles only exist under special circumstances. However, there are enough authors and practitioners of filmmaking to support the viewpoint given here. Alternative viewpoints should include those of the Director and Director of Photography, who would probably argue that most sound problems can be fixed in post-production (but at a cost - as the Producer would point out.) Egrabczewski

With all due respect to Yewd, the term "Director of Audiography" is absolutely unattested in any professional context, aside from his book, and I advise this article be deleted or merged with Sound Designer, a term that is used. The existence of a Director of Audiography is wishful thinking, and has no relation to professional filmmaking. Iluvcapra 04:12, 23 September 2006 (UTC)

[edit] Director of audiography (DOA)

The DOA role exists and is credited in Bollywood film like:

The following article reflects the arguments found in this discussion:

Yewdall bemoans the loss of the "Sound Director" in earler films. The main issues are therefore:

  • 1. Is the Bollywood DOA role equivalent to the powerful DOA role described by Yewdall, or does Bollywood just use the credit name to mean something else?
  • 2. Is the current Sound Designer's role equivalent to the political DOA role describe here and by Yewdall?

We need to look at the scope of these jobs:

  • DOA/SD does the following:
  • 1. Is responsible for planning the aural requrements of the film. This includes planning for dialogue, music, sound effects and new sounds.
  • 2. Budget for all these requrements, hence involvement in the preproduction phases of the film.
  • 3. Ensuring that all aspects of audio are coordinated with other departments e.g. choreography, photography, art.
  • 4. Provide a consistent policy and oversee audio issues throughout all phases of filmmaking.


  • Sound Designer does the following:
  • 1. Is responsible for planning the new sound requirements of the film. This involves creating new sounds for the production e.g. dinosaur sounds, spaceship sounds and other new concepts in sound.
  • 2. Budget for the new sounds in the film. This can happen at production or even post-production.
  • 3. Ensuring the new sounds coordinate with the music and sound effects departments.

So, as far as I can see, the two jobs neither have the same political scope or power in a production, nor do they carry the same responsibilities over departments. To say they are the same would be missing the point made by Yewdall and others. If we make the DOA/SD role the equivalent of the Sound Designer then we might as well make it equivalent to the Supervising Sound Editor.

--Egrabczewski 06:01, 23 November 2006 (UTC)

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