Sound Design for Visual Media

Program Introduction

Sound design is an important element for enhancing the emotional experience of the audience, viewer, or player of any story or game. This course will teach you many of the audio skills you need to become a great sound designer. You will learn things like Film Set & Location Sound Recording, Post-Production Audio Editing, Sound Designing, Music Editing for Films and Games, Surround Sound Mixing, Game Audio Implementation, VR Audio, Ambisonic Recording for 360 Videos, MIDI & Synthesis, and many more. The school uses North America standard audio equipment and workflow techniques to teach the students how to adapt to any type of audio environment they may encounter in studios around the world after completing only one year of study in Shanghai!



Production Sound Recording

Recording an actor’s line in a complicated environment like a film set is the most important thing in production sound recording. We teach the students how to analyse the script, choose locations, choose the microphones, and know the camera lens and light positions before shooting begins. Students learn how to collaborate with other departments, control the noise from the film set, and use the equipment properly to record the dialog as cleanly as possible.

Post Sound Recording

ADR (Automated Dialog Recording) and Foley are two of the main jobs of post sound recording. Students learn how to run ADR sessions to replace lines of dialog from the film set, as well as how to manage Actors, Directors and Producers in Film and Animation. Foley includes re-recording all of the sound effects that the actors touched on set. We will teach students how to use different materials to simulate all the sound effects, and how to make the film have a more vivd sound track.

Sound Editing

Sound Editing is used to help detail and complete the story telling in a film or game. It includes Dialog Editing, Back Grounds Editing, Foley Editing, Sound Effects Editing, MIDI Editing, Sound Synthesis and Music Editing. The course will train the student to be able to deliver up to 7.1 surround sound edits to the mix stage.

Sound Design

The purpose of Sound Design is often to create sounds which do not exist in the real world (think Transformers or Gozilla). This kind of sound needs us to be original as we imagine and create something new. We will teach our students how to manipulate existing sounds with plug-ins, and how to bend and shape sound waves into exciting new sounds.


The Mix Stage is where all of the Sound Effects, Dialog, and Music come together in surround sound. The Mix Stage is a very technical place, but it is also the final creative step in completing a sound track for a film or game. The mix teams carefully follow the story with the director and help to create the best emotional impact possible for each scene in the film or game.

Game Audio

In a video game the player can choose their viewing perspective freely. This is something that makes Game Audio very different and requires a different technical skill set from tradition film editing. We teach the students how to use Wwise and Unity to create these different perspectives in the game worlds and then implement their sounds into 3D and VR video games.


View Detailed Syllabus
  • Term 01

    Discover the current industry practices in audio, and familiarize yourself with Pro Tools, the main audio tool of the sound design industry.

  • Term 02

    Implement these concepts, theory, and tools to edit backgrounds, Foley, dialogue, sound effects on films and 3D animations, and record sound on over 30 short films.

  • Term 03

    Explore advanced surround sound design and editorial techniques, work on some Game Design student projects, and record 6 more short films with the Film Program students.

  • Term 04

    Expand on your skill sets with practical knowledge by completing the edits on all 6 of the films and explore Game Audio by learning to implement sound with Wwise middleware.

  • Term 05

    Become more self-directed as you delve deeper into sound for film and game audio. Learn surround sound and Dolby Atmos mixing techniques on the AVID S6. Learn advanced level game audio skills with Unity and UnReal.  

  • Term 06

    Mix down your final Sound Design project in 7.1.4 surround sound and present your portfolio work to an industry panel for feedback and industry mentorship to direct your path after graduation.

Career Orientation

Our typical student career paths lead into many jobs across three fields: Sound Design and Mixing, Film & Television Industry Location Recording, and the Video Game & Mobile APP Industry.

  • Audio Director

    Supervise the entire game audio production and ensure the quality of the content and its integration as a gameplay element.

  • Audio Lead

    Under the supervision of the Audio Director, the Audio lead  is responsible of managing and creating audio  assets and the workflow process throughout  the particular project production cycle.

  • Voice Designer

    Responsible for planning, organizing, implementing and maintaining all game voice related content.

  • Audio implementer

    Work closely with audio team members to help implementing sound assets and develop the audio system that support all aspect of gameplay.

  • Music Editor

    Its the technical and creative liaison between the Composer and the directors, he is responsible for compiling, editing, implementing and synching the music during the production of the sound track.

  • Sound Supervisor

    Acts as a liasion between the editorial and recording staff, and the studio owners, directors and producers. Also responsible for all scheduling of editors and recording staff and facilities, technical deliveries, and overseeing the audio budget on a project.

  • Sound Designer

    Creates, records, manipulates, combines, performs, and shapes sound waves in any way they can to create new sounds that have never been heard before.

  • Foley Editor

    Edits Foley recordings for creativity and sync to match the actor's performances from the video perfectly. 

  • ADR Engineer

    An audio recording engineer who is responsible for recording all scripted lines of dialogue in a manner that suits the performance needs of the director and the sync needs of the dialog editor.

  • Re-recording Mixer

    A senior level mixer who is responsible for the technical and creative requirements of the final mix of a film and then creating the print master delivery tracks.

  • Sound Effects Mixer

    Is responsible for balancing, adding effects, perspectives, and panning the Foley, Backgrounds, Sound Effects, and Special Effects tracks in a way that best suits the director’s story.

  • Boom Operator

    Is responsible for positioning the boom microphone on a filmset in a way to capture the best sounding performance possible.

  • Sound Effects Editor

    Responsible for selecting sound effects or recordings and editing them to sync with a video and help support the narrative of the story. 

  • Foley Engineer

    An audio recording engineer who is responsible for recording sounds created by the Foley Artists in the studio.

  • Dialog Editor

    Is responsible for gathering all film location recorded dialogue and editing it into a smooth and consistent track that matches the video edit, they may also edit ADR tracks for sync and noise problems. 

  • Foley Artist

    Also known as a Foley Walker, this is who will actually perform the actions of the actor’s feet, cloth, and props. 

  • ADR Engineer

    Responsible for recording all lines of dialog in a film that have been missed on the film set, or had technical problems and are now unusable in the film edit.

  • Dialog Mixer

    Works on the mix stage as the lead mixer and is responsible for balancing, adding effects, perspectives, and panning the Production, ADR, Walla, and Narration dialogue in a way that best suits the director’s story.

  • Location Sound Mixer

    Responsible for capturing all Dialogue and Production Sound Effects, and well as maintaining any communications, signal feeds, or headphone monitoring mixes that may be needed on the film set.

  • Utility Technician

    Also known as Sound Assistant. Helps to maintain the technical audio needs of the Sound Mixer and the Boom Operator on the film set.

  • Foley Mixer

    Responsible for pre-mixing the edited Foley tracks and ensuring that they have good sync and are suitable for the Sound Effects Mixer’s needs.

Program Advantages

This course is different because it specifically focuses 85% of your time on learning sound design for film, TV, and video games instead of music production like most other schools teach. We still learn music skills, but our passion is Sound Design!

We emulate a real industry environment, with all of the intensity, project deadlines, and quality expectations that come with it, giving you first-hand experience before you begin your career as Sound Designer.

You’re exposed to industry professionals every day by our faculty of sound veterans, mentors, and industry panelists that will help you push your work to the next level so that you will be ready to get hired immediately.

Program Intro of Sound Design

Alumni Success


  • Game 《Gun jack2:End of shfit》

    1 alumnus

  • Film 《I Belonged to You》

    1 alumnus

  • Film 《S.M.A.R.T. Chase》

    1 alumnus

  • Film 《Fist & Faith》

    1 alumnus

  • Multimedia Drama 《The Three Body Problem》

    1 alumnus

  • Game 《Saint Seiya(Tencent)》

    1 alumnus

  • Game 《Legend of Destiny》

    1 alumnus

Class Moments

Student Works


  • Sound Design《Moonlight Blade》

    Sound Design for Visual Media 01 (Fall 2015)

  • Sound Design《Star Craft 2》

    Sound Design for Visual Media 02 (Fall 2016)

  • Sound Design《Higher Sky》

    Sound Design for Visual Media 02 (Fall 2016)

  • Sound Design《A New Dawn》

    Sound Design for Visual Media 04 (Fall 2017)


考特尼 • 弗雷






SD 01-Alex

One year substantial, intense and enjoyable learning in SHVFS gave me a solid knowledge background of sound design and made me fully prepared for getting into the game audio industry

SD 04-Lynn

Two years ago, a brand new world of sound showed up to me. And when I look back, I still feel that fortunately I've made my decision to study at SHVFS.

I Study Sound Design in SHVFS--Echo's Study Diary (2)

Admissions Info

Start date: September for Fall semester, May for Spring semester (tentative)

One year, six 8-week terms 

¥178,000  (Scholarships may be available to applicants.)

Integration with other SHVFS programs for collaboration opportunities

Processes, practices, and timelines that reflect the industry

One-on-one mentorship on final project

Industry-reviewed final project


Related materials:

A. A copy of your ID (Proof that you are at least 18 years of age or have graduated from high school.)

B. A copy of your highest degree (If you are still studying, please provide your Confirmation Letter.)

C. One recommendation letter (optional, remarks: Please note family members are not eligible as references).

D.One CV both in Chinese and English

E. A file certifying your English proficiency level, such as TOEFL or IELTS score sheet, CET score sheet, Transcripts from any secondary or post-secondary institutions attended in the last 3 years, etc.

F. Sound Design Program Requirements:

     1) Write us a letter demonstrating why you wish to take the Sound Design program (maximum 500 words)

     2) Original Sound Design portfolio as a Web Link, Audio File, or Mpeg File (maximum 5 minutes). Please add a written description of the concept behind the chosen piece.


Please note that all the materials are collected only for admission purposes only, and will not be avaliable to the public.