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Sound has fundamentally reshaped the cinematic experience over the past century. To explore how it enhances the audiovisual experience, Animateka International Animated Film Festival<\/a> in Ljubljana hosted a masterclass led by the Italian-born sound designer Andrea Martignoni<\/a>. Known for his innovative audioscapes and experimental techniques, Martignoni introduced a set of examples in soundmaking. By allowing the audience to experience sound independently of the image, the masterclass provided a deeper insight into the multiple layers of filmmaking, especially in animation.<\/p>\n The masterclass took place at the Old Power Station in Slovenia’s capital, on the festival\u2019s second day. Historical and charming, the 19th-century building served as a fitting venue for masterclasses and other events held during the festival. The industrial red-brick architecture not only enhanced the ambiance but also merged the building’s history with the fresh spirit brought by Animateka.<\/p>\n After a short introduction, Martignoni shifted the focus of the masterclass to two important collaborators who shaped his career over the years and redefined his understanding of sound as a narrative voice. These collaborators were enigmatic street artist and filmmaker Blu and Canadian experimental filmmaker Pierre H\u00e9bert. Martignoni wryly noted: \u201cThis masterclass won\u2019t cover my entire career, but will instead focus on these two collaborators who enabled me to teach others through workshops like this!\u201d<\/p>\n The unorthodox presentation began with Martignoni politely asking his audience to close their eyes and listen to the soundtrack of one of his films, ‘Fino’ (2005). As a psychological exercise, it gave participants a chance to feel sound without any audiovisual support. Engaging solely with the auditory side of filmmaking, the exercise put listeners into a rather unique position. Abstract ruffles and scrabbles let the imagination flow toward various images created subconsciously.<\/p>\n Psychologically interactive, it offered a way to experience sound in its purest form, placing it at the forefront \u2013 as a masterclass on sound should. Once visuals were introduced, the audience could finally register how these sounds contrasted with or complemented the moving images. Revealing the dynamic relationship between sound and animation, the first part of Martignoni\u2019s masterclass effectively demonstrated how perception can often be shaped by sight.<\/p>\n A recurring theme of the masterclass was the idea that sound can be treated as an independent storytelling element. In a recent three-day workshop<\/strong>, Martignoni shared how sound and foley work with animation to create layers of meaning. As he recalled, the first day of the workshop was dedicated to finding a sound, which was then followed by the animation process \u2013 a sequence rather unusual in any form of filmmaking.<\/p>\n In the masterclass, he illustrated this concept with examples from the young workshop participants who manipulated short sound snippets to reinterpret their original meanings, often with humor or irony. Martignoni would ask them to choose any sound, however ordinary or random (it might seem), and then create an animation supporting it.\u00a0<\/p>\n Among the masterclass highlights was a discussion of Martignoni\u2019s collaborations with Blu, particularly on the celebrated short ‘Big Bang Big Boom’ (2010). Renowned for his monumental animations painted across urban landscapes, the ever-mysterious Blu erases and repaints as he goes, photographing the results frame-by-frame.<\/p>\n \n Watch ‘Big Bang Big Boom’<\/em><\/h4>\n