A large amount of the material that we have recorded so far was not put into the main Cubase project in time for the presentation. The pre-mix sounded very sparse and represented a massive underachievement for the group.
A more in-depth analysis and evaluation is in the pre-mix report.
Thursday 13 March 2008
Monday 3 March 2008
SESSION 11 - MON 03.03.08
EDITING SAMPLES FOR KONTAKT
I spent most of the session today cutting up the 45-minute wav file which I recorded from the MD into Audition on Thursday. I have been splitting the file up into separate sample files, which I will then batch-process later. I have left a gap of silence on either side of each sample to allow me to capture a noise profile where noise reduction is necessary.
KONTAKT TUTORIAL VIDEOS
Having watched some of the tutorial videos I am now better aware of the available utilities in Audition which I will be able to use to my advantage. So far I have decided not to use the Auto-Cue to find the phrases as my samples are all very different in type and I will have to spend time going through all of them anyway to adjust the start and end points of the phrases.
Next studio session is Wednesday 10:30-17:30.
I spent most of the session today cutting up the 45-minute wav file which I recorded from the MD into Audition on Thursday. I have been splitting the file up into separate sample files, which I will then batch-process later. I have left a gap of silence on either side of each sample to allow me to capture a noise profile where noise reduction is necessary.
KONTAKT TUTORIAL VIDEOS
Having watched some of the tutorial videos I am now better aware of the available utilities in Audition which I will be able to use to my advantage. So far I have decided not to use the Auto-Cue to find the phrases as my samples are all very different in type and I will have to spend time going through all of them anyway to adjust the start and end points of the phrases.
Next studio session is Wednesday 10:30-17:30.
DIALOGUE EDITING - SAT 01.03.08
I came into the labs at about 12pm until about 6:30pm on Saturday to clean up the dialogue that we have recorded so far, particularly the parts we recorded on Wednesday (27th).
We had several takes for many of the lines so I had to pick out the best take for each line. In some case this meant cutting up the takes and combining them i.e. picking out the best phrases and editing them together to sound natural. In most cases I chose the take which we agreed in the studio was the best one.
For the parts that needed to be synced to the video, they were recorded in the studio to the video and so were mostly quite well synced already. However, some of the phrases we slightly early or late (either due to actors not being able to the character's mouth movements clearly on the studio screen or because the takes with the best acting weren't necessarily the tightest ones sync-wise) and so needed to be split and adjusted to fit properly.
I also tidied up the Cubase project file and organised the dialogue into folder tracks so that they will be easier to mix and to avoid having to sort through takes later. For some phrases/lines I have kept a second (good) take on an 'Option' track in case the other members of the team think we need to use a different take to the one I've chosen.
We had several takes for many of the lines so I had to pick out the best take for each line. In some case this meant cutting up the takes and combining them i.e. picking out the best phrases and editing them together to sound natural. In most cases I chose the take which we agreed in the studio was the best one.
For the parts that needed to be synced to the video, they were recorded in the studio to the video and so were mostly quite well synced already. However, some of the phrases we slightly early or late (either due to actors not being able to the character's mouth movements clearly on the studio screen or because the takes with the best acting weren't necessarily the tightest ones sync-wise) and so needed to be split and adjusted to fit properly.
I also tidied up the Cubase project file and organised the dialogue into folder tracks so that they will be easier to mix and to avoid having to sort through takes later. For some phrases/lines I have kept a second (good) take on an 'Option' track in case the other members of the team think we need to use a different take to the one I've chosen.
Thursday 28 February 2008
RECORDING SAMPLES FROM MINIDISC TO WAV - THU 28.02.08
In order to import the recorded samples into Kontakt I had to transfer them to wav format. I had a total of almost 100 tracks with as many as 15 samples on each.
I tried to plug the MD recorder into a computer in JG120 via USB but there was no driver installed so I wasn't able to transfer the sample tracks that way.
I was hesitant to immediately capture the samples by taking an audio out into a lab mixing desk as this introduces an additional element of noise which, although small, is not ideal. In the end I had to use this approach and took the signal from the phono output of the MD into a jack input on the desk and patched the signal through to Audition. I then found the loudest sounds and took a level in Audition from them. Once I was satisfied that the signal wasn't going to clip, I clicked 'record' in Audition and pressed 'play' on the MD recorder. I left it to record for 45 minutes whilst I carried on with something else.
I now have a 45-minute wav file of all the samples which I will need to cut up into separate files using Audition.
I tried to plug the MD recorder into a computer in JG120 via USB but there was no driver installed so I wasn't able to transfer the sample tracks that way.
I was hesitant to immediately capture the samples by taking an audio out into a lab mixing desk as this introduces an additional element of noise which, although small, is not ideal. In the end I had to use this approach and took the signal from the phono output of the MD into a jack input on the desk and patched the signal through to Audition. I then found the loudest sounds and took a level in Audition from them. Once I was satisfied that the signal wasn't going to clip, I clicked 'record' in Audition and pressed 'play' on the MD recorder. I left it to record for 45 minutes whilst I carried on with something else.
I now have a 45-minute wav file of all the samples which I will need to cut up into separate files using Audition.
UK SCREEN POST PRODUCTION SEMINAR - THU 28.02.08
Dennis Weinreich (Videosonics Cinemasound)
Andy Shelley (Sound Recordist, Sound Editor, Dialogue Editor)
Ben Meechan (Sound Editor, Sound Effects Editor)
Jon Olive (Music Editor, Sound Effects Editor, Sound Designer)
Andrew Stirk (Dubbing Mixer, Sound Re-Recording Mixer)
It was very interesting to hear industry professionals talk about their work on mainstream films and was useful in terms of our project to take away some techniques and ideas.
Five professionals talking about the following areas:
On-set recording, dialogue, ADR
Sound effects, Foley
Music editing
Mixing
Also took away inspiration for finding placement and got an insight into what professionals look for in recruits - mainly that they are teachable, have people skills and 'fine human beings'.
Andy Shelley (Sound Recordist, Sound Editor, Dialogue Editor)
Ben Meechan (Sound Editor, Sound Effects Editor)
Jon Olive (Music Editor, Sound Effects Editor, Sound Designer)
Andrew Stirk (Dubbing Mixer, Sound Re-Recording Mixer)
It was very interesting to hear industry professionals talk about their work on mainstream films and was useful in terms of our project to take away some techniques and ideas.
Five professionals talking about the following areas:
On-set recording, dialogue, ADR
Sound effects, Foley
Music editing
Mixing
Also took away inspiration for finding placement and got an insight into what professionals look for in recruits - mainly that they are teachable, have people skills and 'fine human beings'.
Wednesday 27 February 2008
SESSION 10 - WED 27.02.08
Studio session, recording dialogue and sound effects.
THE PRODUCTION BOOTHS
- Because we have been allowed to stay in the studios for the full 3 hours on Wednesdays for the past few weeks, the other group who have stayed in the booths said they needed the studios, so we had to go into the booths from the start of the session.
- As none of us had used the booths before, we spent a while trying to get the desk to work and getting used to the digital fader automation. We asked for help from the tutors, who helped us to get it working.
- We found that once we got used to using the desk, we became very efficient, and it turned out that the booth was ideal for recording dialogue for several reasons:
> Communication between the live room and the control room is easier because the talkback mic can be locked so it's easier to have a conversation/discussion. Also the live room door opens into the control room.
> The transport buttons on the desk make setup, recording and cueing much easier.
> The smaller desk makes the keyboard and mouse easier to reach and use.
> There is less space for people to sit around in the room, so it encouraged us to split up and double our productivity.
> The Mackie digital desk is much simpler to use than the Ghost.
- We stayed in the booth for the whole session.
WHAT WE GOT DONE
- Finished recording dialogue for the Teacher and the Kid including grunt sounds for when the teacher falls over in the classroom and slips on the skateboard, and exertion sounds and breaths for when the Kid is climbing the drainpipe.
- Chris and Tom (and Pete) went off to record some sound effects - not sure which ones, but it has helped to make a dent in the amount of sounds we still have to record.
PLAN
- The majority of the dialogue has now been recorded - remaining parts are the Deep Voice (at the funeral), Trinity, Neo and the small snippets of classmates and other students (such as the girls in the bathroom).
- Dan's girlfriend is available next Wednesday to come in and do the voice of Trinity, which should be fairly quick as it's only one line.
- I am doing the voice acting for the Deep Voice, and so plan to read through the lines before the next session.
- I have backed-up all the dialogue and am going to take it into the labs over the weekend (either Friday or Saturday) and clean it up and edit it so it is organised and ready to be mixed and have reverbs applied etc.
Next studio session is next Wednesday. We have booked time after the tutorial session so will hopefully be in from 10:30-17:30.
THE PRODUCTION BOOTHS
- Because we have been allowed to stay in the studios for the full 3 hours on Wednesdays for the past few weeks, the other group who have stayed in the booths said they needed the studios, so we had to go into the booths from the start of the session.
- As none of us had used the booths before, we spent a while trying to get the desk to work and getting used to the digital fader automation. We asked for help from the tutors, who helped us to get it working.
- We found that once we got used to using the desk, we became very efficient, and it turned out that the booth was ideal for recording dialogue for several reasons:
> Communication between the live room and the control room is easier because the talkback mic can be locked so it's easier to have a conversation/discussion. Also the live room door opens into the control room.
> The transport buttons on the desk make setup, recording and cueing much easier.
> The smaller desk makes the keyboard and mouse easier to reach and use.
> There is less space for people to sit around in the room, so it encouraged us to split up and double our productivity.
> The Mackie digital desk is much simpler to use than the Ghost.
- We stayed in the booth for the whole session.
WHAT WE GOT DONE
- Finished recording dialogue for the Teacher and the Kid including grunt sounds for when the teacher falls over in the classroom and slips on the skateboard, and exertion sounds and breaths for when the Kid is climbing the drainpipe.
- Chris and Tom (and Pete) went off to record some sound effects - not sure which ones, but it has helped to make a dent in the amount of sounds we still have to record.
PLAN
- The majority of the dialogue has now been recorded - remaining parts are the Deep Voice (at the funeral), Trinity, Neo and the small snippets of classmates and other students (such as the girls in the bathroom).
- Dan's girlfriend is available next Wednesday to come in and do the voice of Trinity, which should be fairly quick as it's only one line.
- I am doing the voice acting for the Deep Voice, and so plan to read through the lines before the next session.
- I have backed-up all the dialogue and am going to take it into the labs over the weekend (either Friday or Saturday) and clean it up and edit it so it is organised and ready to be mixed and have reverbs applied etc.
Next studio session is next Wednesday. We have booked time after the tutorial session so will hopefully be in from 10:30-17:30.
RECORDING SAMPLES - TUE 26.02.08
OBJECT
Bought pack of four Corona bottles - in retrospect maybe I should have bought something cheaper, though maybe the quality of the beer may reflect on the sound of the bottle.
I didn't have the sufficient cables to connect the output of the mixer to the input of the MiniDisc (MD) recorder, so my housemate lent me a Rode NT-3, which has takes a 9V battery. After looking through the menus on the MD, I discovered that it has phantom power which can be switched on and off, so I reverted back to the NT-5. Usefully, I made this discovery before I had started recording anything.
- When listening to the mic through my headphones I found there was a lot more noise in the room than I had originally anticipated.
- I managed to lessen it by turning off the heating and then turning down the recording level on the MD and emphasising the sounds to get a good level and increase the signal-to-noise ratio. This meant I had to re-record some of the earlier sounds.
- When editing the samples I made need to apply some noise reduction to some of them.
SOUNDS
- All of the sounds I recorded last night were done without the bottle being opened i.e. with beer still inside and with the lid still sealed. This afternoon and this evening I am going to record sounds with open and empty bottles as well as sounds of the bottles being opened, poured etc.
- The bottles have quite a wide dynamic range - the sound of the bottle hitting anything or being hit are quite loud, whereas the sound of the beer moving inside is very quiet. Although this meant I had to keep checking and changing the recording level on the MD, it will give me a good range of sounds for the map.
TIME
I did most of this recording at night between 11pm and 12:45am. Had I stayed up working for another 15 minutes I probably would have recorded the sound of the earthquake.
Bought pack of four Corona bottles - in retrospect maybe I should have bought something cheaper, though maybe the quality of the beer may reflect on the sound of the bottle.
EQUIPMENT
My housemate didn't have a C1000, but offered me a pair of Rode NT-5s, so I decided to use them instead of going back into uni to the Studio Help Desk to see if any had been returned. I also borrowed a mic stand, XLR, and a small Phonic mixer for phantom power.
I didn't have the sufficient cables to connect the output of the mixer to the input of the MiniDisc (MD) recorder, so my housemate lent me a Rode NT-3, which has takes a 9V battery. After looking through the menus on the MD, I discovered that it has phantom power which can be switched on and off, so I reverted back to the NT-5. Usefully, I made this discovery before I had started recording anything.
SETUP
I set up the mic over a stone workbench in my basement. I chose the basement because I was less likely to get noise from my housemates and also the room has a good resonance, which I felt would add character to the sound of the bottle.
- When listening to the mic through my headphones I found there was a lot more noise in the room than I had originally anticipated.
- I managed to lessen it by turning off the heating and then turning down the recording level on the MD and emphasising the sounds to get a good level and increase the signal-to-noise ratio. This meant I had to re-record some of the earlier sounds.
- When editing the samples I made need to apply some noise reduction to some of them.
SOUNDS
- All of the sounds I recorded last night were done without the bottle being opened i.e. with beer still inside and with the lid still sealed. This afternoon and this evening I am going to record sounds with open and empty bottles as well as sounds of the bottles being opened, poured etc.
- The bottles have quite a wide dynamic range - the sound of the bottle hitting anything or being hit are quite loud, whereas the sound of the beer moving inside is very quiet. Although this meant I had to keep checking and changing the recording level on the MD, it will give me a good range of sounds for the map.
TIME
I did most of this recording at night between 11pm and 12:45am. Had I stayed up working for another 15 minutes I probably would have recorded the sound of the earthquake.
Tuesday 26 February 2008
STUDIO SESSION - MON 25.02.08
Recording dialogue in Studio 1.
PREPARATION
Over the weekend I ripped the original audio from the Animatrix clip, synced it to our version of the clip, and using automation in Cubase I dipped out the dialogue of the teacher so that Dan can get a better idea of timings for his lines.
Spent a lot of time trying to get the lines to sound right and real - had to allow practice time for the voice actors. Got Dan's 'Teacher' lines from the classroom done, and some attempts at the funeral scene, which were easier with the dipped original audio. We will probably attempt the latter lines again in the next session.
PLAN
Next studio session is Wednesday at 10:30. We will be looking to at least finish the dialogue for the Teacher and the Kid.
PREPARATION
Over the weekend I ripped the original audio from the Animatrix clip, synced it to our version of the clip, and using automation in Cubase I dipped out the dialogue of the teacher so that Dan can get a better idea of timings for his lines.
PROBLEMS
Found it difficult to get a good level from the dialogue - had the gains right up. Checked that there were no pads switched on on the mic. Managed to cope with it by pushing the faders higher.
Spent a lot of time trying to get the lines to sound right and real - had to allow practice time for the voice actors. Got Dan's 'Teacher' lines from the classroom done, and some attempts at the funeral scene, which were easier with the dipped original audio. We will probably attempt the latter lines again in the next session.
PLAN
Next studio session is Wednesday at 10:30. We will be looking to at least finish the dialogue for the Teacher and the Kid.
Monday 25 February 2008
SESSION 09 - MON 25.02.08
KONTAKT
Spent time looking around Kontakt and going through tutorial but couldn't make a great deal of sense of it. Decided to come back to it sometime in the next couple of days and spend a good session getting stuck into it. My plan is to record all my sounds tomorrow and Wednesday at home and then I will be able to work through the tutorials using my own sounds.
EQUIPMENT FOR RECORDING SAMPLES
- Filled out Risk Assessment for recording sounds of beer bottles at home and got it signed by Michael Ward.
- Booked out a MiniDisc recorder from First Floor Help Desk for 3 days (needs to be returned on Thursday).
- Asked Michael Ward for recommendations for mics to use for recording beer bottle - condensers Audio-Technica 4033 or AKG C1000 and maybe get an Shure SM57 in case for louder sounds.
- Asked at the Studio Help Desk for 4033 and C1000 but they didn't have any in - there should be one being returned by 5pm tomorrow. Will ask my housemate if he has a C1000 that I can use.
DEADLINES
- I looked at the Assignment Brief and made a list of all the pre-Easter deliverables and their deadlines - both group and individual.
- We now have two and a half weeks until we have to present the pre-mix with all the dialogue and Foley, which means we have a lot of recording to do.
- I need to press on with the work for Kontakt, as I need to allow time to get to know the software, as I only have just over a week, as opposed to 5 or 6, which I have had for getting to know software packages in the past.
NEXT GROUP SESSION
Studio 1 booked from 7-9 tonight. We will be focusing on recording dialogue.
Spent time looking around Kontakt and going through tutorial but couldn't make a great deal of sense of it. Decided to come back to it sometime in the next couple of days and spend a good session getting stuck into it. My plan is to record all my sounds tomorrow and Wednesday at home and then I will be able to work through the tutorials using my own sounds.
EQUIPMENT FOR RECORDING SAMPLES
- Filled out Risk Assessment for recording sounds of beer bottles at home and got it signed by Michael Ward.
- Booked out a MiniDisc recorder from First Floor Help Desk for 3 days (needs to be returned on Thursday).
- Asked Michael Ward for recommendations for mics to use for recording beer bottle - condensers Audio-Technica 4033 or AKG C1000 and maybe get an Shure SM57 in case for louder sounds.
- Asked at the Studio Help Desk for 4033 and C1000 but they didn't have any in - there should be one being returned by 5pm tomorrow. Will ask my housemate if he has a C1000 that I can use.
DEADLINES
- I looked at the Assignment Brief and made a list of all the pre-Easter deliverables and their deadlines - both group and individual.
- We now have two and a half weeks until we have to present the pre-mix with all the dialogue and Foley, which means we have a lot of recording to do.
- I need to press on with the work for Kontakt, as I need to allow time to get to know the software, as I only have just over a week, as opposed to 5 or 6, which I have had for getting to know software packages in the past.
NEXT GROUP SESSION
Studio 1 booked from 7-9 tonight. We will be focusing on recording dialogue.
Wednesday 20 February 2008
SESSION 08 - WED 20.02.08
STUDIO
- Concentrated on recording dialogue
- Started recording dialogue for the Kid with Dan as the voice actor
- Later, Matt and Dan switched roles so Matt is doing the Kid's voice and Dan is doing the teacher's voice
- Found it difficult to act the parts that aren't lip-synched, because there is no reference for time and how long each phrase should be
- To help with this, we will take the original audio and cut out the parts of the dialogue that we are recording so the actor can have a 'conversation' with the pre-recorded character on the original.
- I noticed that the voices were too quiet for two people talking in the rain, even if they are under umbrellas...
> I suggested that we might need to record the dialogue towards the end when we have most of the sound effects and Foley done, so that the voice actors will have an idea of the atmosphere and mood.
By the end of the session we only had about 4 lines of dialogue recorded, and it's likely that we'll only keep one of them.
WHERE WE'RE AT
We are now at the end of Week 4 in terms of studio time and have made little progress since last week. We have 3 weeks or less until we have to present our Pre-Mix and we are going to have to get back on track quickly and regain our organisation, particularly since we currently have no field recording organised or any time booked in the Foley room.
PLANS
It was suggested in the studio session that we split into two groups of 3 so we can double our efficiency, especially since only about 3 people were involved in the dialogue recording.
- Concentrated on recording dialogue
- Started recording dialogue for the Kid with Dan as the voice actor
- Later, Matt and Dan switched roles so Matt is doing the Kid's voice and Dan is doing the teacher's voice
- Found it difficult to act the parts that aren't lip-synched, because there is no reference for time and how long each phrase should be
- To help with this, we will take the original audio and cut out the parts of the dialogue that we are recording so the actor can have a 'conversation' with the pre-recorded character on the original.
- I noticed that the voices were too quiet for two people talking in the rain, even if they are under umbrellas...
> I suggested that we might need to record the dialogue towards the end when we have most of the sound effects and Foley done, so that the voice actors will have an idea of the atmosphere and mood.
By the end of the session we only had about 4 lines of dialogue recorded, and it's likely that we'll only keep one of them.
WHERE WE'RE AT
We are now at the end of Week 4 in terms of studio time and have made little progress since last week. We have 3 weeks or less until we have to present our Pre-Mix and we are going to have to get back on track quickly and regain our organisation, particularly since we currently have no field recording organised or any time booked in the Foley room.
PLANS
It was suggested in the studio session that we split into two groups of 3 so we can double our efficiency, especially since only about 3 people were involved in the dialogue recording.
Monday 18 February 2008
SESSION 07 - MON 18.02.08
JAWS
Watching 'Making Of' DVD- John Carter won Academy Award for sound on Jaws
- Sound of a dinosaur when the dead Jaws sinks through the water - from a dinosaur B-movie and used by Spielberg in Duel- John Williams - two note signature that becomes associated with the arrival of the shark
- Williams explains how synchronisation of the sound and the visual image creates impact
CATEGORISING SOUNDS
Using the cue sheet I categorised the sounds we need to record to ensure that we are more efficient and don't miss any recording opportunities.
Sounds have mostly been categorised according to similarites in source and location, so that we can identify all the sounds that need to be recorded whilst we have access to a certain prop/location.
Wednesday's session feels quite unplanned and because we decided not to have a meeting last Thursday, we may have lost some of the momentum we had.
The introduction of the work with Kontakt has potential to hinder our work as a team and we need to make the most of the time we have as a team to work on the group aspects.
- Williams explains how synchronisation of the sound and the visual image creates impact
CATEGORISING SOUNDS
Using the cue sheet I categorised the sounds we need to record to ensure that we are more efficient and don't miss any recording opportunities.
Sounds have mostly been categorised according to similarites in source and location, so that we can identify all the sounds that need to be recorded whilst we have access to a certain prop/location.
Wednesday's session feels quite unplanned and because we decided not to have a meeting last Thursday, we may have lost some of the momentum we had.
The introduction of the work with Kontakt has potential to hinder our work as a team and we need to make the most of the time we have as a team to work on the group aspects.
Wednesday 13 February 2008
PROJECT PITCH PRESENTATION: SESSION 06 - WED 13.02.08
PREPARATION
Stayed up late last night collating the team's work in the following areas
- compiling cue sheets - reformatting, colour coding, printing
- compiling and analysing skills audit - editing down, writing section for overall team skills/improvements, printing
- resources and work breakdown - formatting, printing
- team photos - printed and attached to contract
- other paperwork e.g. script
When working individually to a template for later compilation, template needs to be more thorough. I produced a short 'brief' for what was needed for the Skills Audit, which made compiling it a lot easier and quicker
PRESENTATION
Marked by Steve Parker and Justin Morey
We were told at the end that we'd be coming out with a first.
> Best Points
- detail of the cue sheet: the fact that we included Point Of View and that it was categorised and colour coded
> For Improvement
- Gantt chart needed more detail, although it was supported by the resources and work breakdown paperwork
- resources tables could have been laid out differently i.e. not in the six 'minute' sections, maybe categorise the sounds and resources
- cue sheet times could have been done by frame rather than time as they are more likely to be consistent
We need to make sure we don't neglect the Project Management when we start recording and to make full use of all the paperwork we have produced.
TO DO
- Hand in all paperwork and deliverables to Caedmon reception and upload to X-Stream by Friday
- Group sounds into categories of type
- Organise locations for all categories/sounds - find them and book them
Stayed up late last night collating the team's work in the following areas
- compiling cue sheets - reformatting, colour coding, printing
- compiling and analysing skills audit - editing down, writing section for overall team skills/improvements, printing
- resources and work breakdown - formatting, printing
- team photos - printed and attached to contract
- other paperwork e.g. script
When working individually to a template for later compilation, template needs to be more thorough. I produced a short 'brief' for what was needed for the Skills Audit, which made compiling it a lot easier and quicker
PRESENTATION
Marked by Steve Parker and Justin Morey
We were told at the end that we'd be coming out with a first.
> Best Points
- detail of the cue sheet: the fact that we included Point Of View and that it was categorised and colour coded
> For Improvement
- Gantt chart needed more detail, although it was supported by the resources and work breakdown paperwork
- resources tables could have been laid out differently i.e. not in the six 'minute' sections, maybe categorise the sounds and resources
- cue sheet times could have been done by frame rather than time as they are more likely to be consistent
We need to make sure we don't neglect the Project Management when we start recording and to make full use of all the paperwork we have produced.
TO DO
- Hand in all paperwork and deliverables to Caedmon reception and upload to X-Stream by Friday
- Group sounds into categories of type
- Organise locations for all categories/sounds - find them and book them
Monday 11 February 2008
SESSION 05 - MON 11.02.08
CRITICAL EVALUATION
Once Upon A Time In The West
- very sparse, especially in terms of dialogue - this is the case throughout the whole film
- sound of windmill throughout first scene
- sound of fly inside the gun
- scenes, tension, story and atmosphere are all built largely using sound
- harmonica line used as motif for the guy who steps off the train; heavy reverb; line blurred between diegetic and non-diegetic - you're half led to believe he's playing it, but it also becomes his signature for later in the film, where it is used at points where he is not shown playing it
Heat
- more sparse than a regular blockbuster film, which are saturated in sound effects
- gunshots sound exaggerated with heavy reverb, although gunshots/bomb explosions can sound hyperreal because they are so unexpected and so far removed from everyday life
- explosion of ambulance on final drum beat - use of musical score to emphasise visual elements - you are expecting the rhythm pattern to be completed and the ambulance to explode, as they happen at the same time there is resolution for both expectations
Finding Nemo
- audience has no point of reference for sound underwater, so sound designers are effectively creating a virtual world
- sound of submarine falling through water is like a 'dying dinosaur', similar to the sound used by Steven Spielberg in Duel and also in Jaws as the shark dies and falls through the water. Deep Blue Sea uses a similar sound for the sharks dying as a reference/homage to Jaws - Finding Nemo may be making a similar reference
Jarhead
- music seems to signify pounding heartbeat of soldiers
- loud dialogue to begin with, goes quiet as planes start to turn
- low frequency sounds used for impact - they resonate in cinemas; here they may have been panned through the 5.1 so that the audience felt the planes going over at the same time as seeing them
- very little sound after planes fly over - aftermath
Home Alone
- uses Klezmer (type of Jewish folk music) for the score - give the feel that no matter what's happening on screen, it's all a bit of fun.
- sound of furnace - bears, sound of a man shouting
- sounds and music are almost cartoon-like - heavily emphasised
Once Upon A Time In The West
- very sparse, especially in terms of dialogue - this is the case throughout the whole film
- sound of windmill throughout first scene
- sound of fly inside the gun
- scenes, tension, story and atmosphere are all built largely using sound
- harmonica line used as motif for the guy who steps off the train; heavy reverb; line blurred between diegetic and non-diegetic - you're half led to believe he's playing it, but it also becomes his signature for later in the film, where it is used at points where he is not shown playing it
Heat
- more sparse than a regular blockbuster film, which are saturated in sound effects
- gunshots sound exaggerated with heavy reverb, although gunshots/bomb explosions can sound hyperreal because they are so unexpected and so far removed from everyday life
- explosion of ambulance on final drum beat - use of musical score to emphasise visual elements - you are expecting the rhythm pattern to be completed and the ambulance to explode, as they happen at the same time there is resolution for both expectations
Finding Nemo
- audience has no point of reference for sound underwater, so sound designers are effectively creating a virtual world
- sound of submarine falling through water is like a 'dying dinosaur', similar to the sound used by Steven Spielberg in Duel and also in Jaws as the shark dies and falls through the water. Deep Blue Sea uses a similar sound for the sharks dying as a reference/homage to Jaws - Finding Nemo may be making a similar reference
Jarhead
- music seems to signify pounding heartbeat of soldiers
- loud dialogue to begin with, goes quiet as planes start to turn
- low frequency sounds used for impact - they resonate in cinemas; here they may have been panned through the 5.1 so that the audience felt the planes going over at the same time as seeing them
- very little sound after planes fly over - aftermath
Home Alone
- uses Klezmer (type of Jewish folk music) for the score - give the feel that no matter what's happening on screen, it's all a bit of fun.
- sound of furnace - bears, sound of a man shouting
- sounds and music are almost cartoon-like - heavily emphasised
Sunday 10 February 2008
CUE SHEET
COMPILING CUE SHEET 1min-2min
Cue Sheet template has the following columns:
Cue Number, Type, Cue Title, Description, POV, Time, Duration, Source, Location, Done
- Found it difficult to differentiate between Cue Title and Description i.e. they are
- Changed the type of some sounds from the Marker Track i.e. some of the sounds I had originally labelled as Foley are better categorised as sound effects, some sound effects are better described as Dialogue (e.g. sound of class gasping) etc.
- Source and Location may change if the suggested ones are sufficient/effective in creating the required sounds
- Only completed Duration column for sounds that are prolonged e.g. dialogue, long sets of footsteps, phone ringing
- Types/Categories need to be colour coded when the cue sheets are collated
Sent to all group members.
Cue Sheet template has the following columns:
Cue Number, Type, Cue Title, Description, POV, Time, Duration, Source, Location, Done
- Found it difficult to differentiate between Cue Title and Description i.e. they are
- Changed the type of some sounds from the Marker Track i.e. some of the sounds I had originally labelled as Foley are better categorised as sound effects, some sound effects are better described as Dialogue (e.g. sound of class gasping) etc.
- Source and Location may change if the suggested ones are sufficient/effective in creating the required sounds
- Only completed Duration column for sounds that are prolonged e.g. dialogue, long sets of footsteps, phone ringing
- Types/Categories need to be colour coded when the cue sheets are collated
Sent to all group members.
Thursday 7 February 2008
MEETING THU 07.02.08
MEETING
(in the Library)
Minutes taken in Kamal's red notebook
- Discussed Critical Evaluation presentation - Pete to assign clips to team members
- Set deadline for cue sheets to be completed - Sunday 10.02.08 10pm - cue sheets to be e-mailed to at least one other team member to be checked, also to be sent to Tom so he can compile the resource list
- Dan brought in logo, will make i-dent for Monday
- Everyone to redo their part of the Skills Audit as Monday nights 'homework'
Meeting scheduled for Tuseday 12.02.08 10am-12pm in the Library - preparation for Project Pitch presentation
(in the Library)
Minutes taken in Kamal's red notebook
- Discussed Critical Evaluation presentation - Pete to assign clips to team members
- Set deadline for cue sheets to be completed - Sunday 10.02.08 10pm - cue sheets to be e-mailed to at least one other team member to be checked, also to be sent to Tom so he can compile the resource list
- Dan brought in logo, will make i-dent for Monday
- Everyone to redo their part of the Skills Audit as Monday nights 'homework'
Meeting scheduled for Tuseday 12.02.08 10am-12pm in the Library - preparation for Project Pitch presentation
Wednesday 6 February 2008
SESSION 04 - WED 06.02.08
(based in Studio 2)
IN THE SESSION
Compiled marker tracks from each team member's individual minute
- We now have a master marker track with all the sounds on it
- Next task is to put together cue sheets, group sounds into similar types, work out how and where we're going to record them etc.
Created a template in Excel for cue sheet
- Each team member to put in all sounds from their minute
- Will compile a final cue sheet with all the sounds
- I am going to take the list of sounds and put it into a timeline format with colour coded blocks for a more visual overview
Discussed points for Critical Evaluation
- Looked through Finding Nemo - Pete to cut out clips that we can use for analysis
- Clips: chase scene with Bruce, in the dentist's office
- Will go through clip tomorrow in meeting and pick out points for critical analysis
TO DO
- Put my minute into cue sheet template
- Show Skills Matrix to Michael Ward
Meeting planned 1100-1300 tomorrow in Library between lectures
IN THE SESSION
Compiled marker tracks from each team member's individual minute
- We now have a master marker track with all the sounds on it
- Next task is to put together cue sheets, group sounds into similar types, work out how and where we're going to record them etc.
Created a template in Excel for cue sheet
- Each team member to put in all sounds from their minute
- Will compile a final cue sheet with all the sounds
- I am going to take the list of sounds and put it into a timeline format with colour coded blocks for a more visual overview
Discussed points for Critical Evaluation
- Looked through Finding Nemo - Pete to cut out clips that we can use for analysis
- Clips: chase scene with Bruce, in the dentist's office
- Will go through clip tomorrow in meeting and pick out points for critical analysis
TO DO
- Put my minute into cue sheet template
- Show Skills Matrix to Michael Ward
Meeting planned 1100-1300 tomorrow in Library between lectures
Monday 4 February 2008
SESSION 03 - MON 04.02.08
IDEAS DEVELOPMENT
After Thursday's lecture we were discussing how to implement some of the techniques that were demonstrated by the examples that Richard Stevens showed.
- using diegetic sounds as non-diegetic sounds - between The Kid writing 'get me out of here' on his pad and the phone ringing, build the volume (and maybe slow the speed) of the ticking clock to signify his his desperation increasing (similar to the sound of trams used in The Godfather in the restaurant scene).
IN THE SESSION
Divided clip into minute-long sections and each team member went through video in Cubase creating a marker track
- Sounds are either labelled Foley or Sound Effects
- Sounds that are longer than just 'hits' are labelled with both a start marker and an end marker
After Thursday's lecture we were discussing how to implement some of the techniques that were demonstrated by the examples that Richard Stevens showed.
- using diegetic sounds as non-diegetic sounds - between The Kid writing 'get me out of here' on his pad and the phone ringing, build the volume (and maybe slow the speed) of the ticking clock to signify his his desperation increasing (similar to the sound of trams used in The Godfather in the restaurant scene).
IN THE SESSION
Divided clip into minute-long sections and each team member went through video in Cubase creating a marker track
- Sounds are either labelled Foley or Sound Effects
- Sounds that are longer than just 'hits' are labelled with both a start marker and an end marker
- Will compile marker tracks and create a final cue sheet from them
- Pete is waiting for an e-mail from Michael Ward regarding whether we need to work from a template- Colour-code the cue sheet - different colours for Foley, sound effects and dialogue
- Don't need to put music on the cue sheet- We plan to show durations of sounds by using different sized blocks
Division Of Clip
(Minutes)
Pete 0-1
Kamal 1-2
Chris 2-3
Tom 3-4
Dan 4-5
Matt 5-6
Research
Began looking into the sound for the Tony Hawk's Pro Skater games
Sound for THPS (1) done by Tommy Tallarico Studios
Distinctly different sound effects for grinds and rail slides
Info on sound for Tony Hawk's Project 8
http://blogs.ign.com/Project8team/
Need to find more information on other Tony Hawk's releases and how they actually recorded the sounds. Do a brief analysis of the sound including things like how much the sounds vary/change according to different changing factors such as ground surface, amount of space, speed etc.
Sound for THPS (1) done by Tommy Tallarico Studios
Distinctly different sound effects for grinds and rail slides
Info on sound for Tony Hawk's Project 8
http://blogs.ign.com/Project8team/
Need to find more information on other Tony Hawk's releases and how they actually recorded the sounds. Do a brief analysis of the sound including things like how much the sounds vary/change according to different changing factors such as ground surface, amount of space, speed etc.
TO DO
Finish marker track
Write out times from marker track for cue sheet
Write out plans for upcoming sessions
Skills audit
Write out times from marker track for cue sheet
Write out plans for upcoming sessions
Skills audit
Wednesday 30 January 2008
SESSION 02 - WED 30.01.08
(based in Studio 2)
IN THE SESSION
Matt, Tom, Chris and Pete in studio for first part going through clip, picking out sound effects and creating a basic marker track with the main sound effects on it.
- using Cubase - have used with video before and is compatible with everything we need to import e.g. Kontakt
Kamal and Dan in the Library looking for the script online
- could only find one version of the script, which looked like an inaccurate transcript
- Kamal went through the clip on YouTube and transcribed all of the dialogue
Downloaded assignment brief
- need to print out one or more copies so we can keep referring to it
- there are some deliverables to with planning that we need to get sorted soon (some for the Week 3 presentation) e.g. skills audit, contract, Gantt charts
Discussed production company name
- will be called 'Invisible Sound'
- need to design logo and branding for Week 3 presentation - Dan (& Kamal?)
NEXT
Meeting planned for tomorrow (Thursday 31st January) between the morning lecture and the afternoon lecture (11.15-13.00) in the Library.
Delegate tasks, allocate roles, make to do list, start to set deadlines.
Take minutes of the meeting.
IN THE SESSION
Matt, Tom, Chris and Pete in studio for first part going through clip, picking out sound effects and creating a basic marker track with the main sound effects on it.
- using Cubase - have used with video before and is compatible with everything we need to import e.g. Kontakt
Kamal and Dan in the Library looking for the script online
- could only find one version of the script, which looked like an inaccurate transcript
- Kamal went through the clip on YouTube and transcribed all of the dialogue
Downloaded assignment brief
- need to print out one or more copies so we can keep referring to it
- there are some deliverables to with planning that we need to get sorted soon (some for the Week 3 presentation) e.g. skills audit, contract, Gantt charts
Discussed production company name
- will be called 'Invisible Sound'
- need to design logo and branding for Week 3 presentation - Dan (& Kamal?)
NEXT
Meeting planned for tomorrow (Thursday 31st January) between the morning lecture and the afternoon lecture (11.15-13.00) in the Library.
Delegate tasks, allocate roles, make to do list, start to set deadlines.
Take minutes of the meeting.
Monday 28 January 2008
SESSION 01 - MONDAY 28.01.08
TEAM FORMATION
Members:
Matt Hiom
Tom Holding
Dan Houghton
Chris Jones
Kamal Kamruddin
Pete Lilley
Members:
Matt Hiom
Tom Holding
Dan Houghton
Chris Jones
Kamal Kamruddin
Pete Lilley
SKILLS AUDIT/MATRIX
Listed strengths and weaknesses of each team member with regard to strengths that will be useful in completing the project and weaknesses that will need to be improved on. So far the list is slightly vague and may not be as helpful as it could be when we allocate roles within the team, which we need to do soon.
BLOG
Added readers to blog - Michael Ward and all team members.
WHICH CLIP?
Looked at Lost, Animatrix, Charlie And The Chocolate Factory, Spiderman, The Bourne Ultimatum, Star Wars, War Of The Worlds.
Narrowed down to Lost, Animatrix, Charlie And The Chocolate Factory.
Lost - Good range of different types of sounds e.g. running through grass, explosions, people shouting
Animatrix - Mix and contrast of calm and intense, chase scene, atmospheric classroom and funeral scenes
Charlie And The Chocolate Factory - Lots of dialogue, interesting sounds
Chose the Animatrix - The Kid's Story because...
- sound evolves
- contrast - classroom and chase scene
- opportunity to emphasise subtle sounds e.g chalk on blackboard, pen/pencil on paper, classroom atmosphere, typing on computer, rain (at funeral)
THINGS TO CONSIDER
- where we are going to need to field recording and what locations we need to use
TO DO
- watch the clip and identify what sounds are needed - put together cue sheets
> Will probably do this by splitting the clip into 3 parts and assigning each part to two group members, so we are less likely to miss anything.
- start putting together plans - Gantt charts, calendar/plan for the 12 weeks so we can see where deadlines etc. are
- start taking minutes of all the meetings
- get copy of the clip for everyone
- make a full list of tasks for the duration of the project
Saturday 26 January 2008
WHAT'S THE BIG DEAL?
I find that film sound so easily goes unappreciated.
Having discovered some of the techniques and processes involved in audio post-production, I have come to appreciate the sound vastly more than I had done previously. Knowing that the majority of the sound in films is added afterwards has changed the way I watch films, as I now listen much more closely to the sound, particularly the sound effects and Foley. A recent key example of the importance of sound effects in story-line that stood out for me was in The Bourne Ultimatum during the fight scene between Bourne and an assassin in a shower. During the course of the fight, the assassin drops the knife which he has been trying to use against Bourne, which is difficult (or maybe impossible) to see on camera, but the viewer is left in no doubt that the knife has been dropped, because of the clear sound of it landing on the floor.
Having recently watched horror films The Sixth Sense and Psycho, so much of the suspense and fear is created by the sound – watching these (and most others) on mute takes a huge amount of impact away from the film. For Psycho in particular, it’s the musical score that really stands in the audio – Bernard Hermann’s score for is famous for its screeching strings which add so much to the horror of the film.
Throughout the course of this project, I have a feeling I’m going to come to appreciate film sound a whole lot more.
USEFUL LINKS
http://filmsounddaily.blogspot.com/
http://filmsound.org/
Subscribe to:
Posts (Atom)