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.
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.
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