When shopping for props at second-hand stores (used items sound better, he says), he often chooses objects not by their practical use, but their sonic potential. He’s more in tune to the sounds around him in everyday life – while sitting in his garden, for example, he’ll hear all the small sounds around him made by the wind, the birds, the insects. Working so intimately with sound has made him see the world differently, Van der Veer says. Sometimes they call us actors of sound, because like an actor we also play with emotion.” Van der Veer almost always works with a sound engineer, who records and can change the mix to add nuance to the finished product. It’s nice also for the sound designer to have that separately.” Maybe someone’s wearing jewellery, so that’s also something we would record. We’d do a take also with the clothes rustling. “So in a scene where someone is walking with a bag, we would first do the footsteps and then we do the rattling of the bag. “We use a lot of layering in the recording process,” Van der Veer says. Van der Veer will play the source material and begin to act out the sounds in each scene. “It might look like an exploded thrift shop or something, but I actually know where everything is.”Īfter gathering all the props he needs, the recording begins. He even has a small car he uses for scenes that take place inside vehicles. He has more shoes than you can possibly imagine. He has different types of floors for different situations. Van der Veer’s studio is chock full of props – stored in different containers with labels, hanging from the walls.
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