PUFF launches a new category for 2013 :
Film Sound and Original Score Showcase Category
Two Worlds Collide

It is not the image alone that creates the meaning; the language of film is created by two worlds collide : sound and sight. PUFF hopes to create an alternative way to think about scoring.   The scores and sound design not merely enhance the emotion of the writing, but the non verbal medium provides a commentary in contrast to the visuals or it can lead the narrative flow of the work.

Film as Sound Art

The PUFF Indie Music Showcase is an extraordinary way of pairing original music writers and film.  It is a new direction initiated by a film festival.  Here, the emphasis is not the film as a whole, but sections of the work with sound and music that creates an outstanding piece of work in its own right.

Film Music Resource Center

PUFF Indie Sound and Score will develop a platform where we connect and pair filmmakers, writer, producers with score writers and sound designers.

List of useful sites : http://www.filmtracks.com/ http://www.filmscoremonthly.com/  movie trailers itunes
Video game music and sound : http://www.gamessound.com/index.htm
Exhibition Sound  :  Digital formats and theatre standards http://www.dolby.com/us/en/consumer/technology/movie/dolby-atmos-details.html#3-Theatres
Online sharing  sites :  http://www.centerforsocialmedia.org/


In this new category, PUFF 2013 welcome submissions from the writer, sound engineers, sound technicians, song writers and performers directly. You could submit the section of the film that illustrate your work.  Or submit the whole film DVD and note the section that you want to hightlight.  Please write a summary or record a commentary of the work that you submitted.

The shortlisted work will be announced together with the films for PUFF 2013.

PUFF 2012  Music Showcase

Film sound

The sound work for “The Language of Time” functions as a dramatic support system, in fact, the soundtrack was conceived as a storyline running parallel to the visual images, helping to reinforce several scenes in the film, and at other times creating a contrast with them.

The audible universe of this film is its protagonist, frequently used as the channel through which the story is told, what is heard actually directs the visual images, even surpassing them at times. The storyline is defined by its accompanying soundtrack, never acting as a mere accessory to the film images.

From the author’s reflections, the thesis behind the sound production of the film, we can say that “What we hear is more trustworthy than what we see, as our eyes are actually only showing us a convention of this world, an interpretation of our surroundings”. But sound comes in its original form to our senses. This is why we chose to manipulate and conduct the film’s narrative from the medium of sound.

The music, the environment, the effects, the atmosphere and even the dialogues conform a whole with an organic sense, like a continuous musical score in which even the pauses are part of this whole.  This way the final sound mix, what we eventually hear, becomes a filmic reality, organic and inseparable from the specifics of any of its accounts.

The concept and the technical work

The technical sound work for the film began from the theory or the original idea for this film. Three different sonorous scenarios are to be constructed to represent the three versions of the scenes that we will tell. Even though the three parts occur in the same location, each one of them was set up in a different space.

The first act was defined as destitute, without any major references, it is “the origin” of our situation and therefore the cleanest and purest. The scene occurs on a beach, reason why we hear seagulls and the sea, exaggerated sounds that conform the notion of this all actually being a simulation. The simulation becomes more evident when we enter the second part of the three parts, since, even though it occurs in the same house, the surroundings are now a swamp scene. In the final or third part of the story, the scene develops in a more realistic tone; the soundtrack obtains a more concrete style, now being an urban setting.

The Language of Time is an experimental film, something that is evidenced in each shot and film sequence, in its images and in its sound. The story occurs in a real yet somewhat altered universe, altered with the notion of portraying the emotional spirit of the actions and not only conveying anecdotes. To obtain this an original image is complemented with an experimental sound.

Sebastián Araya Serrano
Director: “The Language of Time”

winner of PUFF 2013 Indie Award


Other notable mentions

1. The Darned Bulb ( winner of Experimental category ) Romanian artist and videographer extremely poignant images of his communist past that examines the hardness and futility of humanity.  His hauntingly lyrical original score, in contrast, created an Eden-like paradise and lightness that pushes the film to an ethereal ralm.

” a child, a student and he , a metaphoric trinity. I want to create a symbol of the dynamics of time perception over a lifetime. so the music I use either create that kind of narrative or sometime, the score actually is the opposite of it… ”

Sound Designer : Staiter ( tbc)  Music Score : Staiter  Director : Gheorghe Staiter

(For PUFF Film Club members :  refer to the section where they change from sombre images to a garden background )

2. From Now to Eternity (short film)-  the use of the French language and Japanese language to create a dreamlike but an alienated landscape;  the viewer do not need to understand French or Japanese, but the pure sound of the the two  languages created two melodic poems conveying the impossibility of their affair
(For PUFF Film Club members :  refer to the section where they are walking in Paris, in art museums, and the beach)

Director : Reiko Kondo


A Short Note about PUFF”s music writer and sound design

Ah Kok Wong wrote our film festival’s program & trailer original score

Renown in Hong Kong as an 80’s generation activist & indie live house founder Hidden Agenda,  Ah-Kok wrote the original score for PUFF’s 2012 trailer.  Listen to his signature atmospheric rock  sound.

Photos below : Ah-kok’s exhibition at EXPERIMENTA

Tacit Knowledge , Sound & video installation

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Ah-kok Wong at Experimenta