LO4: Be able to record, edit and review sound elements

LO4: Be able to record, edit and review sound elements

Production of Sound

Car Ignition

To begin with foley effects; when recording sound outside of a conventional sound studio, I captured audio, such as the ignition of the car engine, through the benefit of portability of a phone and a bluetooth microphone. This allowed for a convenient method of obtaining high quality audio for post-production implemented sound effects during production/filming.

Gunshots

Gunshots were the most pertinent sound effect in relation to the narrative of I'm So Lucky, especially attributed to its crime drama genre where such violence is conventional. Therefore, I experimented the most with these sound effects to turn sound like dropping a key or slamming a book, into a realistic gunshot that would fit within the diegesis seamlessly following post-production editing. I also wanted to try using a stock sound effect when it came to the silenced pistol effect so I could create a clear distinction between a volatile shot produced by non-traditional recording methods (turning a book slam into a gunshot rather than recording one directly) in comparison to a clean, stealthy and professional sound which creates a comparatively different enigma. Ultimately, to achieve the most immersive sound possible however, for a regular gunshot, I recorded the audio of an air rifle being shot through a similar method to the car ignition via the bluetooth microphone and phone.

Stock Silenced Pistol Effect Source 

Heavy Breathing & Unintelligible Chatter

For voice recorded sound effects, I took advantage of a sound studio where I connected a sound-box to the computer and created a new document within garage band. On another monitor, I brought up the offline edit for the short film, allowing the voice actors to watch the rough version and rewatch the scenes in which their input was necessary. Recording for these sounds was relatively simple however, as I synced up heavy breathing with the footage of the hidden sniper and recorded multiple voiceovers of people talking to create an unintelligible overlay of chatter. To achieve a clean sound, I used a pop filter and an audio shield to encapsulate the sound and remove any unwanted echo when recording audio. Any additional emphasis such as for the 'secret handshake' scene were also recorded in this same environment to achieve clean sound for an immersive or visceral diegesis.  

Recording Equipment

Evidence of Editing

For audio transitions, I used primarily the 'constant gain' and 'exponential fade' features on Premiere Pro to fade in and out the soundtrack or allow a given sound effect (e.g. the car engine) to fade into a scene in a less obtrusive, natural way. Fading down the diegetic soundtrack during dialogue in the bar scene, and increasing it during character introduction montages. Upon Jackie's introduction where the music that his headphones play, goes on diegetically in the background, the music fades as he takes the headphone out his ear to further audience immersion/entertainment. 

For the voice sound effects like added echo or reverb, I used the 'Analog Delay' and 'Amplify' features to create immersive audio which fit within the diegesis of the film; applying these effects to dialogue (such as the unintelligible chatter in the first scene) and gunshots to give them more emphasis. 

As an audio transition into the next scene, I faded in and out the audio to make the cut more seamless as it furthers the visual transition on screen. I also imported the 'sound emphasis' for the secret handshake which synced with what was happening on screen to create a more visceral/audible sequence. 

When editing sequences with soundtracks: I cut the visual footage to sync cuts or transitions with the music in the background to make a more entertaining and smooth sequence; fading the audio as it comes in and fading it back out with 'exponential fade' as the sequence transitions to the next scene. When implementing the music from the bar scenes and Jackie's headphones, I wanted the noise to be diegetic and convey age; giving the locations and technology a vintage and classical style that would've been typical of organised crime culture, classical Italian music playing through an old vinyl. To achieve this, I used a 'vinyl' filter on the editing app, CapCut and imported and modified the music with the 'stereo expander' to characterise the 'old' sound of the music. The same was used with Jackie to convey the quality of the technology/headphones he uses to immerse audiences into what kind of character he was. 

When implementing the gunshots, I added the amplification and reverb whilst syncing them to the footage to create a natural coalition between the diegesis and visuals; using the final gunshot to sync into the credits and non-diegetic music in the background to create a cinematic spectacle from the audio.

Audio File

Offline Edit (Without Sound)

Final Film Rendition

Music/Soundtracks

Always Music - Classic Italian Music

Fleetwood Mac - I'm Coming Home to Stay

Anna Yvette - Red Line 

The Doors - Soul Kitchen

The music I used for the short were selected for their characterisation: the classic Italian music referencing the often Italian influence of mob/organised crime culture, The Doors in reference to Custeau's (the protagonist's) shirt which features the same band and Fleetwood Mac as an extension of that for being a band from the same era. Soul Kitchen releasing in '67 as Coming Home to Stay released in '68. The synth music of Jackie's taste then juxtaposes Custeau with something still within that 80's zeitgeist the film is intended to reflect as 'modern music' for the time. 

Feedback 

Focus Group (Premiere)

Feasibility of feedback

When gathering a small audience to watch the film's initial premiere, I asked each for any feedback on the film for what they liked and what could've been improved; particularly to do with sound. The responses from my focus group and survey were as my audience noted that some noises or soundtracks, notably the diegetic soundtrack in the first scene, being too loud or too quiet. In order to improve this I will use the audio sound mixing board to change this so that the song isn't too loud and you can't hear my characters. Another piece of feedback from my focus group was to add sound effects into the video to create more of an enigma and keep the audience engaged, a way to do this is by adding a sound effect echo.  

Implementation of Feedback

Lowering volume of 'The Doors - Soul Kitchen' for credits sequence

 

To lower the volume of the music to an extent at which the audio spectacle of the chorus syncs with the on-screen footage/credits, whilst keeping the sound not overbearingly loud, I reduced the DB via 'Audio Clip Mixer' from 10 to 0; keeping it a neutral volume. I also increased the volume of some gunshot effects to give them more impact and reduced the diegetic soundtrack within the first scene, following focus group feedback. 

Furthering Implementation of Sound

Where stated to further the implementation of sound within the film, this is where I edited both visual and audio effects to include the echo present in the scene of the lurking sniper: the effect of this, in comparison to the lack of in the previous edit audiences watched, foreshadows the enigma through the echo sound effect creating connotations of someone watching from far away. I achieved this through 'analogue delay' to apply the echo sound effect and create the illusion of distance within the scene. 

To further visual aid with sound, I took the same approach as I did for montage sequences which are accompanied by music as the shots/cuts sync with the soundtrack. Therefore, I applied this to the credit sequence where the cuts in the credits would synchronise with the music. The effect of this furthering the film as these cuts give more spectacle to the short's ending. 

Evaluation

Overall, audience enjoyment of the product was high with most improvements targeted at visual aspects; the primary auditory complaint being in relation to the credit sequence and the unmeasured volume of The Door's song (Soul Kitchen) which I later reduced the volume for whilst changing other criticised areas (e.g. colour metrics). The use of music for characterisation was also praised therefore, telling that the chosen soundtracks were effective and edited correctly. The use of sound however, could be furthered. This is where I started to implement more editing into the foley such as reverb for character dialogue (such as the implementation of echo) and on gunshots to give them more of a visceral effect within the scenes. The audience also agreed with the age rating and use of diegetic sound within the film to create immersion, meaning that a 12A BBFC age rating was not challenged by the portrayals of violence or gun crime highlighted within legal and ethical concerns for the foley of the film. 

When producing foley for the film, I wanted to optimise filming dates meaning I could get voice actors to perform any foley effects/audio capture that I'd implement in post-production following that day's filming for the relevant scenes. This meant that capturing audio like the car ignition would follow intrinsically during filming as we moved locations. Any foley I could perform beforehand like gunshots would be recorded before filming so that actors could hear and appropriately react to the gunshot within the scene; how visceral or how particular it may be (e.g. contrast between a silenced and un-silenced shot). This also benefitted post-production as I already had all my necessary footage and additional audio before editing. 

Following consideration when creating foley and implementing soundtrack for 'I'm So Lucky', in future I'd like to rely less on soundtrack montages for characterisation and instead implement wholly natural foley via emphasised sound effects like the secret handshake to define a scene. This would likely make a scene significantly more intimate, especially if structured in the same vein as the meeting with the mob boss, using the clink of a glass and a gulp rather than a diegetic soundtrack to fill dead air; instead letting that dead air linger with minor emphasised sound effects, to build tension, than music which may detract from it.

The use of sound bettered the film by creating entertaining montage sequences which characterised the individuals of the scenes as well as soundtrack to define setting and time/style. The overall success of foley also furthered the film as sounds like gunshots or diegetic sound emphasis, would immerse audiences in the picture and progress the narrative. A gunshot and the contrast in connotation between a silenced and un-silenced shot, creating differing enigmas which leave both a visceral and intellectual pleasure, as audiences can theorise the ending of the film with the two different gunshot sounds.  

LO3: Be able to plan the production of sound elements for an identified media purpose

LO3: Be able to plan the production of sound elements for an identified media purpose

Mind Map of Ideas

Mood board & Audience Profile

Rough Script

Scene 1

Sound Effects (continuous throughout the scene):

• Diegetic soundtrack - Italian Music
• Diegetic artificial chatter/background talk

INT. (Various cuts) Smoke in the air, record player spinning something Italian; the subtle illumination from the overhead lights peering through the mist of it all (low angle of lights pans down to bar).  

Light chatting from everyone around (nothing much about nothing) and the tenuous shaking of a couple cocktails for the girls at the bar (low angle medium full shot of the two laughing and smiling at nothing in particular). 

A hand from the corner of a shady side room to the bartender (close up of the hand raising). ‘Two more please’. The hand gives a conceiting smile (medium close up). A chime rings as the rotten door creaks open (low angle).  

A well-dressed man. (Cuts to each article of clothing) shoes: black and polished to a tee (close up). Trousers, suitably black (medium close up). A simple navy waistcoat; a well-adorned handkerchief in the pocket (close up). White shirt (close up), what else could it be? A clean, black coat with a nice lapel (cut from medium close up to close up of lapel). Face, shaved, recent (close up). Hair, rugged but styled; lengthy (close up). Eccentric.  

The hand speaks again (full shot of the shady man in the corner beckoning). (extreme-close up of the man by the door’s eyes cuts to a full shot) He nods. (Over the shoulder shot of the man walking toward the corner). The bartender shares his suspicions but finishes his work (low angle medium shot). The tension between these two is so thick you couldn’t even cut it with a diamond sword. 

Man in the corner 

“Please.” (waves the man to sit down, smiling, high angle medium shot) 

Bartender 

“Your drinks sirs.” (low angle medium shot, the ‘man in the corner’ nodding and smiling to the bartender as he sets the drinks down)  

Other man 

“Thank you.” (Same low angle medium shot cuts to the ‘other man’ as the bartender sets down their drinks). ‘Why me?’ (Low angle continues as he looks up at the ‘man in the corner’. 

Man in the corner 

(Extreme-close up of his mouth) ‘It’s a simple matter.’ 

(Wide shot of the men sitting across from each other, ‘the man in the corner’ takes a sip from his drink as he vacantly looks toward him). 

The scene is otherwise derelict in character. Who wants to see two men of equally unknown backgrounds? No, we need difference, not indifference.  

Man in the corner 

‘Not for you though’ (shot cuts to an over-the-shoulder shot from the ‘other man’s perspective as he speaks) 

The chime rings again. Tensions in the bar are elated. The gentle creaking of the door solemnly echoes to the corner of the room. The two girls by the bar stare, intently (two shot, medium shot from their side, twirling their straws in their drinks and smiling). A beastly figure. Maybe in his 30’s? 40’s? Early 50’s? No one could tell. (Wide shot of a shadowy silhouette). (Same close-up sequence as with the ‘other man’) cathartic in appearance: beige and orange crocs, legs exposed with only a fleeting pair of shorts to cover them. A tank top that drooled and slumped down the man’s lethargic body; grotesque sweat stains pouring over his chest as if he’d just vomited in the outside carpark. A lavish black coat that could also be mistaken for a pricy bath robe. Stubble coated the man’s face and neck like a pox atop a boar’s hide. His nose was overtly red and swollen, as if he’d been punched in it every single day of his life. Eyebags drooping behind a thin pair of aviators and unruly hair that writhed across his scalp; strands matted to his sopping forehead as if they’d been glued there.  

He lumbers over to the corner, nodding to the bartender and signalling for a drink (he starts walking forward in a wide shot that cuts to a medium shot of the disparaged bartender, tracking low-angle medium close up from what be the point of view of his armpit as he signals). The man steps boorishly toward the ‘man in the corner’.  

(Low angle of the drink on the ‘other man’s’ side of the table as depth of field changes to show the boorish man looking down at it lowering his sunglasses with mouth agape and eyes blinking to adjust to what he’s seeing). 

The man in the corner 

‘Mr. Custeau.’ (medium shot of him looking toward Mr. Custeau, smiling) 

Mr. Custeau 

‘You know me? Oh man, you already got me a drink? (Cut back to low angle from drink’s perspective, shot cuts to a high angle of the ‘other man’ looking up at Mr, Custeau with a fake smile on his face). 

‘Oh, shoot, sorry man, is this yours? Sorry I just blanked you’ (shot cuts to a low angle from the ‘other man’s’ perspective of Mr. Custeau, shot cuts to a two shot of them with Mr. Custeau reaching his arm out for a handshake). 

Other man 

‘No worries.’ (He says lightly, clearing his throat and readjusting himself, perturbed, medium shot him reaching to shake Custeau’s hand). 

Mr. Custeau 

‘You two in... the middle of something or...I can go order a drink and wait if that works?’ (Medium close-up of Custeau gesturing with his hands whether he should leave). 

Other man 

‘Yes. Should we get back to it...?’ (Medium close-up of the man indicating with his hands that they should move on). 

Man in the corner 

‘No, I believe I’ve learned everything I need from you. We’ll be in touch.’ (Medium close-ups of him and the ‘other man’ which cut intermittently between each other, the ‘man in the corner’ waving his hand to the ‘other man’ as the ‘other man’ expresses a concerned and sad look).  

Mr. Custeau 

‘Damn, little harsh?’ (Medium close-up low angle of Mr. Custeau as he looks back at the ‘other man’ leaving the bar, shot cuts to a medium close-up of ‘The man in the corner’ turning his head to Mr. Custeau in confusion, raising his eyebrow slightly). 

‘Buy the man a drink and don’t even let him finish.’ (Shot reverse shot between them as the man’s face becomes serious and tense). 

Man in the corner 

(Close up of the man) ‘Under this table, pointed directly toward your nether region’ (Shot cuts to a medium close-up of the table as it pans downwards from the top of the table to a shot of Mr. Custeau’s legs, the man’s hands and a handgun being cocked in them, audible click as he does so) ‘is a P226 pistol.’ (Medium shot from the man’s perspective of Mr. Custeau on edge; spreading his body across the chair instinctively). ‘Now, may we get to business?’ (Low angle close up of the man smiling as he finishes speaking). 

Mr. Custeau 

(Medium shot of his body relaxing and smiling back at the ‘man in the corner’) ‘Shoot.’ (He says not realizing the poor choice of words). 

Man in the corner 

(Close up of the man laughing/exhaling through his nose and lifting his eyebrows, shot cuts to a close-up of Mr. Custeau cluelessly smiling and nodding back) ‘Do you consider yourself a lucky man, Mr Custeau?’ (Shot reverse shot as they speak, medium close ups, low angles of the man and eye-level shots of Mr. Custeau’).  

Mr. Custeau 

‘Right now not really.’ (His face in dishevelled amazement and horror). 

Man in the corner 

‘Did you feel (his voice becoming more aggravated as speaks) lucky when you happened to somehow incidentally find 5 pounds of fine cocaine!’ (Low angle as he stands up and slams his fist on the table as he speaks). 

Scene 2

Sound Effects:

• Diegetic Soundtrack - Music for Montage
• Diegetic sound of ringtone
• Diegetic sound of Custeau speaking through phone static

EXT. Pub

INT. close up of Mr. Custeau as his eyes widen, the shot stays still as it changes to the same shot and expression, now in a different location at a different time, a supermarket

Mr. Custeau 

‘Five pounds!?’ (The shot then cuts to a full shot of Mr. Custeau standing in a supermarket looking at an overpriced sandwich. The shot cuts to the other side of Mr. Custeau as he walks up the aisle in the direction of the camera. ‘Jump Around’ by House of Pain starts playing as he walks, the shot freezing and the title ‘I’m So Lucky’ appears on screen in sync with the start of the music; shot and freeze frame end as the song continues.  

(Short montage sequence as Mr. Custeau walks to his car, buying some groceries, medium shot from the perspective of the top of the dashboard as he sits down, disgruntled; the music stops as he shuts the door. Pressing his face to the steering wheel as the shot changes to a low angle close-up beneath his face on the wheel. As he sits, dejected, face planted on the steering wheel, his phone rings. Mr. Custeau picks up his phone, eyeline match sequence cutting from a low angle close up of Mr. Custeau holding the phone/camera, then to an over the shoulder shot of him looking at the phone with ‘Giovanni’ and a picture of him and Custeau together; Custeau presses answer and raises the phone to his ear as the shot returns to the dashboard top. 

‘Hello?’ (He balances his arms on top of the wheel as he speaks, getting comfy). 

Giovanni 

‘Yo, you busy?’ (Shot cuts to a medium shot of Giovanni in his house, holding the phone to his ear). 

Mr. Custeau 

‘No not really.’ (Shot cuts back to Custeau as he looks behind him at the back of the car to his groceries.) 

Giovanni 

‘Think you can give me a ride?’ (Shot back to Giovanni) 

Mr. Custeau 

‘Uh...’ (Custeau says disgruntled, the shot returns to him, wiping his eyes in slight annoyance, then sighing saying) ‘Yeah sure.’ (He falls onto his seat).  

Giovanni 

‘Aight thanks man.’ (The shot stays on Custea as the phone hangs up). 

Mr. Custeau 

‘You’re welcome.’ (He says sighing throwing his arms up, throwing his phone in front of him, putting his seatbelt on and turning on the ignition. Shot ends). 

Scene 3

Sound Effects

• Emphasised sound of secret handshake
• Diegetic sound of car ignition

EXT. Car

INT. Full shot of Giovanni’s door from the inside of the house, Custeau knocks on the other side and Giovanni comes past the camera to open it. Shot cuts to a low angle from the outside of the house to create a full shot of Custeau standing as Giovanni comes outside, shutting the door; the two engage in a secret handshake and walk toward the camera.) 

(Over the shoulder shot of Custeau walking to the driver’s side of the car and Giovanni walks ahead to the passenger side as Custeau stops him whilst Giovanni is opening the door. He leans on the door as they speak.) 

Mr. Custeau 

‘Where am I even taking ya’?’ 

Giovanni 

‘Just drive where I tell you to.’ (He says while raising his arm up to Custeau in slight annoyance.) 

Scene 4

Sound Effects

• Emphasised diegetic sound of car door closing
• Diegetic Music (Jackie's headphones - added in post)
• Gunshot (diegetic, added in post)

EXT. Car

INT. Close up of Custeau’s foot climbing into the car and the door shutting which acts as a jump cut between locations, arriving at an undisclosed rural setting in the woods. Medium shot of the side of the car of Custeau getting out the car looking concerned and confused, looking to his right at Giovanni who’s off camera.) 

Mr. Custeau 

‘Where are we going? I can’t just leave my ride here.’ 

(Shot pans to Giovanni exiting the car.) 

Giovanni 

‘Just leave it here a while, not be long.’ 

 (Shot pans back to Custeau who raises his hands in the air in annoyance, his face aggrieved looking to the camera’s direction. Shot cuts to a medium close up of Giovanni looking at Custeau over the roof of the car; resting his hand on it as he speaks)  

‘Please?’ 

(Shot cuts to Giovanni’s perspective from the car roof of Custeau, putting his arms back down, turning to him; shaking his head gently and sighing, looking to the distance again for a few seconds and back to the camera/Giovanni.) 

Mr. Custeau 

‘Fine.’ 

Giovanni 

(Shot cuts back to a medium close up of Giovanni tapping his hand on the top of the car smiling at Custeau; walking off) 

‘Follow me.’ 

EXT.

INT. medium close up (low angle) of Giovanni walking with Custeau following behind. Custeau looks around warily. The shot cuts to them stood atop an industrial staircase (low angle wide shot)

Mr. Custeau 

‘Why are you being so mysterious about this man?’  

(Custeau says whilst still standing behind Giovanni, he looks at him and walks down the stairs toward the camera). 

EXT.

INT. a panning shot with ‘Crush With Eyeliner’ playing diegetically, subtly, in the background through wired headphones. The shot pans around a tree which reveals a man sitting, smoking, nodding his head rhythmically the music. The shot cuts again to a low angle close-up of the miscreant, listening to the music, eyes closed.) 

Giovanni 

(Moving his head closer and closer into frame, then almost in the man’s ear)  

‘Wake up!’ 

Jackie 

(Jumping up almost immediately) 

‘Jesus Christ!’ 

Giovanni 

(Low-angle full shot of him standing up over Jackie, Custeau stood behind like a child to their parent) 

‘No, just me.’ 

Jackie 

(Medium high-angle of Jackie readjusting himself, still sat on the floor, he speaks still recovering from the scare, obviously stoned. Shot reverse-shot sequence) 

‘Gio, man.’ (Looking at Custeau and waving his arm toward him) ‘Who's this?’ 

Giovanni 

‘This Jackie...’ (holding his arm around Custeau and shaking him) ‘is the guy whose gonna make a delivery for us’. 

Mr. Custeau 

(Pulling himself away from Giovanni, annoyed) 

‘Woah, no way! I know where this goes.’ 

Giovanni 

(Putting his hand on Custeau's shoulder) 

‘Come on dude, its nothing illegal, right?’ (He says looking toward Jackie, his eyes conveying they both know it is). 

(Shot cuts to a close up of Jackie looking at him shaking his head and back to the two-shot of Custeau and Giovanni). 

‘I’ve got a doctors appointment next Friday and there’s a guy me and Jack owe some stuff to so I can’t make it.’ 

Mr. Custeau 

(Close-up of his face, aggravated and confused) 

‘Why can’t he do it? It’s got nothing to do with me!’ (He says pointing his face in Jackie’s direction). 

Giovanni 

(Shot reverse-shot between Custeau and Giovanni, shot cuts to Jackie sitting, taking a puff of his cigarette and spluttering while they talk) 

‘Look at him. I trust you, you’ll be fine.’ (He says while smiling at Custeau, as he smiles a gunshot can be heard in the distance, shot cuts to Jackie sprinting up and grabbing a case.) 

(Medium shot of Giovanni and Custeau from their sides, both scared) 

‘The hell was that Jackie!’ 

(Jackie thrusts the case into Custeau’s arms) 

Jackie 

‘I can’t let them find me!’ (He says to himself and inadvertently Custeau) 

(Sound of a louder gunshot)

EXT.

INT. medium shot of Custeau and Giovanni in the car, the case on Giovanni’s lap, both of them have blank, tired expressions as they look straight forward for a few seconds of silence 

Mr. Custeau 

(Throwing his arms around, quoting Giovanni) 

‘The hell was that Giovanni!’ 

Giovanni 

‘How am I supposed to know what was going to happen!’ 

(They sit for a few more seconds to calm down) 

‘I’ll give you £100 if you take it.’ 

Mr. Custeau 

(Medium close up of Custeau turning his head to look at Giovanni) 

‘You’re kidding.’ 

(Shot reverse shot to Giovanni) 

Giovanni 

‘That bar on West Street.’ 

(Taking a little bag out of his pocket filled with a white, powdered substance) 

‘Just before you go, take this and you’ll be fine, nothing to worry about...’ (He gets interrupted by Custeau) 

Mr. Custeau 

‘No!’ 

Giovanni 

(Pouting at Custeau) 

‘Come on bro.’ 

(Shot cuts back to Custeau in disbelief and switches between Giovanni and Custeau as they interchange) 

‘Come on dude.’ 

(Custeau looks at him) 

‘Come on man.’ 

(Custeau becomes progressively calmer and entertained) 

‘Hundred quid.’ 

(Custeau looks again) 

‘Please man I do-’ 

(Shot cuts back to Custeau suddenly as Giovanni is interrupted) 

Mr Custeau 

‘Give me the god damn bag’. 

Scene 5

Sound Effects

• Diegetic Soundtrack - Same Italian Music as Scene 1 (continued)
• Silenced gunshot (diegetic, added in post)

EXT. Car Scene

INT. Custeau in the bar

‘No...’ (He says in fear. Shot reverse shot of a medium close up of Custeau and medium shot of The Man). 

Man in the Corner 

(Readjusting himself and sitting back down) 

‘Did you bring it back to me?’ 

Mr. Custeau 

(He says putting his arm over the back of the chair) 

‘Yeah, its out back, god damn.’ 

(The shot cuts to a tracking shot of Custeau and The Man walking out the bar entrance, gun pointed at Custeau’s back, as they walk a silenced pistol effect plays and they stop walking; as they stop walking, Custeau turns around with his arms held up to reason. This is where he notices, via over the shoulder shot, The Man, paralysed, eyes wide open.) 

‘You ok man?’ 

(After a second, Custeau realises what happened and moves to the side to avoid the man falling on him in a medium close up. Custeau moves around, his head turning in every direction with a wide shot of him in the open). 

‘I’m-’ 

(An audible gunshot plays as the screen cuts to black with the logo ‘I’m So Lucky’ appears once more). 

Storyboards

Audio Report

When creating a crime (comedy) drama, emphasis on diegetic sound is pertinent to immersing an audience within the gritty and dangerous settings to create effective tension. Therefore, I plan to use a range of gunshots: one audible as a misfire to scare both the characters and audience, and a silenced shot to create connotations of mystery for an effective cliffhanger. I also intend to use sound effects such as reverb and echo to further the visceral effect of these sounds to further immersion/verisimilitude. I also intend to use soundtrack both diegetically and non-diegetically to create smooth and entertaining sequences and characterise the location of a scene (e.g. Italian diegetic music in a bar). Soundtrack is also an effective way of creating montage through synchronising cuts with beats in the music to further spectacle. 

Location Recce

 

Location name:  The West End Pub 

 

Date:  9/10/24 

 

Survey time:  1 Hour 

 

Address:  Westthorpe Road, Killamarsh, Sheffield 

 

Contact:  0114 248 7871 

                              

Interior   

 

Available power:  Y 

Natural light:  Y 

Doors & windows:  Y 

 

Logistics 

 

Transport:  Y 

Permits:  Y 

Facilities:  Y 

 

Exterior   

 

Weather:  N/A 

Light:  Y 

 

Sound:  Subtle ambience of chat throughout the pub & the diegetic sound of (traditional/old) Italian music (included via post-production). 

 

Notes: A potential issue could be disturbing other patrons or them interrupting filming (disruptive background noise) however, if filmed on a quiet (weekday) night, this can be avoided. 

 

Location name:  Killamarsh Train Tracks 

 

Date:  12/10/24 

 

Survey time:  30 minutes 

 

Address:  Killamarsh, Sheffield 

 

Contact:  N/A 

                              

Interior   

 

Available power:  N 

Natural light:  Y 

Doors & windows:  N 

 

Logistics 

 

Transport:  Y 

Permits:  Y 

Facilities:  Y 

 

Exterior   

 

Weather:  Sunny or Cloudy (not raining) 

Light:  Y 

 

Sound: Diegetic sound effects of gunshots which will be inputted via post-production; echo of characters talking when far away

 

Notes: A potential issue could be trains running through whilst filming however, this is easily avoided through completing shots in the vast time between trains passing through.  

 

Location name:  Actor’s House 

 

Date:  13/10/24 

 

Survey time:  30 minutes 

 

Address: Killamarsh, Sheffield 

 

Contact:  N/A 

Interior   

 

Available power:  Y 

Natural light:  Y 

Doors & windows:  Y 

 

Logistics 

 

Transport:  Y 

Permits:  Y 

Facilities:  Y 

 

Exterior   

 

Weather:  Sunny or Cloudy (not raining) 

Light:  Y 

 

Sound: Diegetic (but emphasised in post) sound of Giovanni/actor on the phone & car ignition 

 

Notes: To avoid recording any other shoppers who do not want their image in the product, an ideal time to film would be during quiet hours/days such as 9am (record low) on a weekday. 

 

Risk Assessment

Production name:

Short Film: I’m So Lucky

Location

The West End Pub

Contact information

18clementso@utcsheffield.org.uk

 

Risk	Likelihood	Consequences	Level of Risk	Pre-emptive	Response
Uneven Surfaces/wet floors	Somewhat likely	Small Injury, damage to equipment	Low	Be careful of footing and ensure floors are dry	First aid on hand
Strangers stealing/damaging equipment	Unlikely	Loss of equipment	Low	Keep Equipment in a secure place	Contact 999 or pub owner or consultation with accusant

Production name:

Short Film: I’m So Lucky

Location

Actor's home (Killamarsh)

Contact information

18clementso@utcsheffield.org.uk

 

Risk	Likelihood	Consequences	Level of Risk	Pre-emptive	Response
Uneven Surfaces/wet floors	Somewhat likely	Small Injury, damage to equipment	Low	Be careful of footing and ensure floors are dry	First aid on hand
Loose Wires	Likely	Falling - injury	low	Move wires away from filming location; tape them down	First aid on hand
Crew/Cast Allergen Exposure	Unlikely	Allergic Reaction (could lead to hospitalization)	Low	Check allergies of crew involved	First aid on hand/contact store manager/staff

Production name:

Short Film: I’m So Lucky

Location

Train Tracks (Killamarsh)

Contact information

18clementso@utcsheffield.org.uk

 

Risk	Likelihood	Consequences	Level of Risk	Pre-emptive	Response
Uneven Surfaces (especially if by rails)	Somewhat likely	Small-serious Injury, damage to equipment	Low	Be careful of footing, stay away from tracks	First aid on hand
Oncoming trains	Very Likely	Fatal Injury dependent on situation; if away from tracks, potential ear damage from loud noises	Moderate	Stay away from tracks, especially when hearing a train approaching	Contact 999/Emergency Services

Production Schedule

Legal & Ethical 

A potential legal issue comes from the practical effect of a gun to give visual aid to the sound of a gunshot in the relevant train track and pub scenes. In bringing a realistic handgun prop to public locations, issues arise through threat by denotation of an armed weapon. Therefore, to avoid this issue, reliance on sound to signify the weaponry used by the antagonists through audible gunshots and special effects can be used instead. Another legal issue arises in copyright of soundtracks and fair use however, this can be avoided through the 'use for education' which permits the use of copyrighted material for educational purposes. However, this can be entirely avoided through copyright free music. The same standard applies to sound effects through the creation of original foley as to not breach intellectual property acts through not using sound effects which have been used or created for other intellectual properties. Examples of original or copyright free effects which evade/negate this law would include copyright free music and foley like an altered/edited slam with artificial echo for gunshots or emphasised sound (e.g. a punch).

Ethical issues when filming include the representation of illicit imagery and the glorification of violent or illegal acts such as drug trafficking or gun-crime due to the conventions and planned imagery of the crime genre. The consumption of alcohol by one of the actors (playing the Mob Boss) is also an ethical issue as the representation, of the actor, needs to be visibly over 25. To not glorify these violent/illegal acts, representations of consequence, such as the Mob Boss' death add to spectacle which conveys the danger of illegal activity, intended to dissuade any positive association with these acts. Furthermore, the age classification of the BBFC and the content which sound effects will signify; the impact they'll have on an audience, are also a significant consideration. With a target age rating of 12A, content such as death/violence can be censored by lack of visual or explicit representations (e.g. no content featuring  violent death with copious blood or gore). However, sound allows for the implication of mature/violent themes like death in mitigation through a gunshot and then a cut to black therefore, maintaining an appropriate age rating and not offending or horrifying audiences, whilst still utilizing the graphic themes of the crime genre. 

Asset Table