Damian Candusso | Charles Sturt University (original) (raw)

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Papers by Damian Candusso

PLOS ONE

Evidence suggests that snakes can hear, but how snakes naturally respond to sound is still unclea... more Evidence suggests that snakes can hear, but how snakes naturally respond to sound is still unclear. We conducted 304 controlled experiment trials on 19 snakes across five genera in a sound-proof room (4.9 x 4.9 m) at 27ºC, observing the effects of three sounds on individual snake behavior, compared to controls. We quantified eight snake behaviors (body movement, body freezing, head-flicks, tongue-flicks, hissing, periscoping, head fixation, lower jaw drop) in response to three sounds, which were filtered pink-noise within the following frequency ranges: 0–150Hz (sound 1, which produced ground vibrations, as measured by an accelerometer), 150–300Hz (sound 2, which did not produced ground vibrations), 300–450Hz (sound 3, which did not produced ground vibrations). All snake responses were strongly genus dependent. Only one genus (Aspidites, Woma Pythons) significantly increased their probability of movement in response to sound, but three other genera (Acanthophis (Death Adders), Oxyur...

International Journal of Public Administration, Oct 10, 2022

Australian Screen Production Education and Research Association Conference 2014: ASPERA Conference 2014, 2014

With the recent emergence of digital 3D stereoscopic films, the image has been increasingly the f... more With the recent emergence of digital 3D stereoscopic films, the image has been increasingly the focus of the immersive experience for the cinema audience. With surround sound having been introduced from as early as Disney’s 1940 release of Fantasia in Fantasound, cinema sound has traditionally been at the forefront in the creation of an immersive cinematic experience, however now appears to be foreshadowed. Over the past 2 years, parallel to the changes in screen technologies, cinema sound has been attempting to provide a true 3D aural immersive experience. Some in Hollywood argue that cinema sound has been in 3D since the initial introduction of surround sound, and it is only now, that the film image has become 3D and has finally caught up. Cinema sound practices have not seen a shift with the introduction of the 3D imagery, with the exact same soundtrack being shared by both the 2D and 3D release of the same film. The introduction of surround sound provided an additional dimension to cinema allowing the sound practitioner to move sounds from apparently within and beyond the visual frame. With the introduction of 3D visuals, the image is no longer sitting on a 2D plane, and it can now artificially detach from the screen itself. 3D imagery is now occupying a greater volume of the visual spectrum, however the volumetric space occupied by the soundtrack remains independent and dislocated. Although there is a shift with cinema sound technologies to increase channels and speakers, does this in fact provide a 3D sound solution or does it actually contribute to the breakdown in relationship between the soundtrack and the image

conference; 2008-11-07; 2009-01-30, 2008

The International Journal of the Image, 2014

The US Academy of Motion Picture Awards breaks down film sound into discrete areas of technical p... more The US Academy of Motion Picture Awards breaks down film sound into discrete areas of technical proficiency: sound mixers and re-recording mixers, aesthetic sound editing or design, and sound effects editing. Unsurprisingly, when the audience is asked to report on the sound of a movie, the elements most commented on are the volume and the music. Little critical attention has been given to the use of sound in the hands of the sound designer. In this paper, Damian Candusso, Sound Effects Editor on Australia, peels back the layers of sound and effects that he used to design the dreamtime and landscape sequences for the film Australia. The concept of the 'objective correlative' (Eliot 1950) describes the way in which the sound designer assembles the auditory elements then acts as a creative catalyst in synthesising these into an emotional effect. This offers a rare insight into the way in which the audience is positioned by the subliminal artistry of sound design.

The International Journal of New Media, Technology and the Arts, 2015

SMPTE17: Embracing Connective Media

Cinematic environments are created through image, dialogue, music and sound, but the craft involv... more Cinematic environments are created through image, dialogue, music and sound, but the craft involved in creating an environmental soundtrack often goes unnoticed by the film viewer. Soundscapes are rarely just background: they are powerful storytelling vehicles in their own right, of equal importance to the visuals. This article examines the process of creating an environmental soundtrack for cinema from the perspective of a sound designer. Particular attention is given to how sound is created and layered to enhance, embellish and produce the film’s narrative. Using contemporary Australian films, notably Australia (Baz Luhrmann, 2008) and Happy Feet (George Miller, 2006), the article examines the different challenges in creating an environmental soundscape for both an animation and a live action film. The films Avatar (James Cameron, 2009), Little Fish (Rowan Woods, 2005) and The Magician (Scott Ryan, 2005) are also cited to highlight various approaches to environmental representatio...

PLOS ONE

Evidence suggests that snakes can hear, but how snakes naturally respond to sound is still unclea... more Evidence suggests that snakes can hear, but how snakes naturally respond to sound is still unclear. We conducted 304 controlled experiment trials on 19 snakes across five genera in a sound-proof room (4.9 x 4.9 m) at 27ºC, observing the effects of three sounds on individual snake behavior, compared to controls. We quantified eight snake behaviors (body movement, body freezing, head-flicks, tongue-flicks, hissing, periscoping, head fixation, lower jaw drop) in response to three sounds, which were filtered pink-noise within the following frequency ranges: 0–150Hz (sound 1, which produced ground vibrations, as measured by an accelerometer), 150–300Hz (sound 2, which did not produced ground vibrations), 300–450Hz (sound 3, which did not produced ground vibrations). All snake responses were strongly genus dependent. Only one genus (Aspidites, Woma Pythons) significantly increased their probability of movement in response to sound, but three other genera (Acanthophis (Death Adders), Oxyur...

International Journal of Public Administration, Oct 10, 2022

Australian Screen Production Education and Research Association Conference 2014: ASPERA Conference 2014, 2014

With the recent emergence of digital 3D stereoscopic films, the image has been increasingly the f... more With the recent emergence of digital 3D stereoscopic films, the image has been increasingly the focus of the immersive experience for the cinema audience. With surround sound having been introduced from as early as Disney’s 1940 release of Fantasia in Fantasound, cinema sound has traditionally been at the forefront in the creation of an immersive cinematic experience, however now appears to be foreshadowed. Over the past 2 years, parallel to the changes in screen technologies, cinema sound has been attempting to provide a true 3D aural immersive experience. Some in Hollywood argue that cinema sound has been in 3D since the initial introduction of surround sound, and it is only now, that the film image has become 3D and has finally caught up. Cinema sound practices have not seen a shift with the introduction of the 3D imagery, with the exact same soundtrack being shared by both the 2D and 3D release of the same film. The introduction of surround sound provided an additional dimension to cinema allowing the sound practitioner to move sounds from apparently within and beyond the visual frame. With the introduction of 3D visuals, the image is no longer sitting on a 2D plane, and it can now artificially detach from the screen itself. 3D imagery is now occupying a greater volume of the visual spectrum, however the volumetric space occupied by the soundtrack remains independent and dislocated. Although there is a shift with cinema sound technologies to increase channels and speakers, does this in fact provide a 3D sound solution or does it actually contribute to the breakdown in relationship between the soundtrack and the image

conference; 2008-11-07; 2009-01-30, 2008

The International Journal of the Image, 2014

The US Academy of Motion Picture Awards breaks down film sound into discrete areas of technical p... more The US Academy of Motion Picture Awards breaks down film sound into discrete areas of technical proficiency: sound mixers and re-recording mixers, aesthetic sound editing or design, and sound effects editing. Unsurprisingly, when the audience is asked to report on the sound of a movie, the elements most commented on are the volume and the music. Little critical attention has been given to the use of sound in the hands of the sound designer. In this paper, Damian Candusso, Sound Effects Editor on Australia, peels back the layers of sound and effects that he used to design the dreamtime and landscape sequences for the film Australia. The concept of the 'objective correlative' (Eliot 1950) describes the way in which the sound designer assembles the auditory elements then acts as a creative catalyst in synthesising these into an emotional effect. This offers a rare insight into the way in which the audience is positioned by the subliminal artistry of sound design.

The International Journal of New Media, Technology and the Arts, 2015

SMPTE17: Embracing Connective Media

Cinematic environments are created through image, dialogue, music and sound, but the craft involv... more Cinematic environments are created through image, dialogue, music and sound, but the craft involved in creating an environmental soundtrack often goes unnoticed by the film viewer. Soundscapes are rarely just background: they are powerful storytelling vehicles in their own right, of equal importance to the visuals. This article examines the process of creating an environmental soundtrack for cinema from the perspective of a sound designer. Particular attention is given to how sound is created and layered to enhance, embellish and produce the film’s narrative. Using contemporary Australian films, notably Australia (Baz Luhrmann, 2008) and Happy Feet (George Miller, 2006), the article examines the different challenges in creating an environmental soundscape for both an animation and a live action film. The films Avatar (James Cameron, 2009), Little Fish (Rowan Woods, 2005) and The Magician (Scott Ryan, 2005) are also cited to highlight various approaches to environmental representatio...

Local government (councils) in New South Wales (NSW), Australia, are responsible for the manageme... more Local government (councils) in New South Wales (NSW), Australia, are
responsible for the management and delivery of numerous projects that can be in various fields such as information technology, engineering, planning in addition to many others. Council budgets for capital works can vary from less than 2millioninsmallercouncilstoover2 million in smaller councils to over 2millioninsmallercouncilstoover100 million in city councils. Noting the importance of project delivery in the public sector, specifically local government, and the differences in operation of each individual council, it is no surprise that each
council adopts its own project management methodology, if at all. By identifying, analysing and investigating the nature of project management in local government in Australia and internationally, a framework can be developed for use by local government authorities in NSW. Prior to developing the framework, the existing project management maturity of local government organisations must be
determined. This is done using a project management maturity model. By comparing existing models, a suitable project management model can be chosen specifically for NSW local government. Once the existing project management maturity level is known, local government organisations can improve their maturity level, which has been shown to improve project success.