POST 1:
Monday 9th September 2019
https://www.youtube.com/watch?v=1Ml0r-5U3lw
Dunkirk final dogfight scene:
Sound effects:
Foliage:
Foliage is a type of background noise, and is a mixture of diegetic and non-diegetic sounds. Most of the foliage in this scene is diegetic, such as general spitfire noises, such as the engines and spluttering. For the characters on the ground, they would be hearing the planes, boats and water rushing, as well as general background chatter that fills the air.
The foliage of this scene adds to the senses of the audience as well, as it makes the scene much more realistic, with many sounds layered over each other. The foliage of the scene is also a mixture of synchronous and non synchronous, as different visuals match up with noises. Non-synchronous sounds help prepare the audience for what they are about to see on screen, as well as what is going on in the background.
Dialogue:
Music:
There is not many non-diegetic sound effects that can be heard. Instead, the little sound that there is at the beginning, creates a very naturalistic pub setting, with no one in. However, the little sound also suggests that the actor is paying attention solely to the actress.
The sound effects later on within the helicopter are also diegetic, as both the actors and the audience can hear them. Although, they are still used to create tension, for instance when Walter Mitty makes the decision to run towards the helicopter; which uses a hyper-realistic sound of the helicopter starting.
Date: Friday 20th September 2019
Analyse 2 key scenes from the film using the links below or your own sources. You should be explaining how the different sound elements ( spoken word, music and sound effects ) create mood and meaning for the audience and how they relate to the images the audience sees. Use as many key terms as possible and use timings .
Opening Scene:
The opening scene begins with a black screen, and non-diegetic news readings. This immediately sets the mood for the film, as it talks about certain events, saying "Day 1000 of the siege of Seattle". This makes the audience concentrate on what's being said. It then proceeds to talk about the death of baby Diego, before cutting to a scene of a small cramped coffee shop, where the audio becomes diegetic. The news now has a slightly tinnier sound, suggesting it is coming through the TV.
The news is then broken up by the main character, who says "Excuse me', showing that he's not as involved as everyone else, as he is getting on with his daily life. To add to the realism, as the main character walks out, the news audio doubles; this makes the scene much more realistic, and contributes to the Point Of View style of the film, as that's what the persona would hear.
The diegetic music then takes over, suggesting it might become non-diegetic, but once he walks outside, the music is drowned out by the sound of a busy London. The outside sounds, appear, as the objects appear. For example, the footsteps of the police officers, the beeping and the sound of the Tuk-Tuk on the right hand side of the scene.
The scene is then followed by an explosion, with diegetic fire bells and shouting. However, there is also a, hyperrealistic, high pitch ringing that comes a short while after the explosion, mimicking the sound of tinnitus after the incredibly loud noise. This drowns out the other sounds and also leads the scene onto the title sequence, suggesting that the film is going to be full of war and similar settings. The screaming also stops exactly as the title shows, which makes it far more horrifying and provokes the scene into its emotional realism.
Interestingly, there is no conversational dialogue within this scene. This would normally be useful in understanding what's going on. However, the news readers are used to suggest that the world has fallen into anarchy. The titles and dates also suggest what time period the film is shot in.
The combination of sound, effects, little dialogue, and musical scores, creates a dull mood, and sets the tone for the rest of the film, suggesting that it is shot in a dystopian future, where many different cultures have mixed.
Car Scene:
The scene uses a lot of conversational dialogue throughout. This helps the audience gather more information about the narrative of the film, as well as delve further into the relationship of Theo, the main character and Julianne, his ex girlfriend. The scene is very subtle, which is mostly caused by the normal, naturalistic diegetic sounds. For example, the car radio, and the low hum of the car. The conversation then turns to functional dialogue, as their attention turns to directing each other, as the scene grows more tense. Julianne says "GO! GO! We're going to make it".
The audience is the Brought to the attention of the car and the fire, which creates a diegetic rumble sound, as well as hyper realistic outside noises; that, although wouldn't be inaudible, wouldn't be as loud in real life. This 'heightens' the audiences senses. Less noticeably, the score coming through the radio becomes more quiet within the audio mix, although it is still there, which almost leads to a sensory overload, making the scene feel much more tense.
The audience is next aware of the shouting and weapons on the outside of the vehicle, which are very naturalistic, as they've been muffled slightly.
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https://www.youtube.com/watch?v=cuYOeFDuBmg
The opening sequence of Cars:
Stacey Dooley investigates : Selling drugs online
Stacey Dooley's interviews can be very difficult to retrieve sound from, especially in rushed, live situations, such as when she is talking to the child dealers. By including spoken word that is live, and harder to get, gives a more realistic sense of the documentary, as the lighting hasn't been set up and audio hasn't been attached for clear speaking. This kind of style can be seen through the episode, which suggests to the audience that it is supposed to be like this. The words printed on screen help the audience understand what is being said. However, this also enhances the audiences experience.
The producers have realised that the audio may not be the best, so not only have they subtitled the interviews, but Stacey also speaks to the camera, which is functional dialogue, whilst in the van, giving an overview of the interview, as well as her actual feelings about the encounter. The producers have also decided to overlay Stacey's voice over, over the drug deals, where there is space. This acts as her thoughts, what she was thinking during the moment, again showing her insight to the drug deal.
There is a small amount of non-diegetic musical scores used to direct the tone of the scene to the audience. This helps them predict what's going to happen next; for example, if she's going to meet a dealer that may turn to be difficult. It also helps create tension for certain scenes or interviews that need it. Although, not only is the score used for creating tensions, but for calming the audience down after a tense scene.
The use of background ambience also adds to the realism of the documentary, because it matches the raw feeling of the actual interviews. Although most documentary directors want the it completely quiet, and sounding perfectly, by including the actual background ambience of cars, traffic, and talking, it adds an extra element of sound.
Although there is not many non-diegetic sound effects, as there is no need... this is a real life documentary, not fake; the use of the hyper-realistic, synchronous sound effects for the texts, that are popping up on screen, makes it more realistic, and catches the eye of the audience, as it is different, and also accompanies an on screen action.
Another element of Stacey Dooley's documentaries is her accent and dialect. She is from Luton.
Although, most presenters are from a middle class background, with a strong British accent. However, hers is broken and much different to the conventional British presenter.
There is also many difficulties with recording live sound, especially when undercover. Not only does the sound device have to be hidden amongst, the other recording equipment, the clothing; it also needs to be able to capture clear audio... even when it is not directly in front, facing or above the subject that is speaking.
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Wednesday 6th November 2019
Workshop1: Voice-Over
No Country For old men: Car explosion scene
hmmm. What can I do?
I've still got that shirt, I'll use that
Grunting
This'll do
Nobody's that way... (curiously)
Aaannddd
No bodies that way
I'm gunna dip that in there.
Cover the fuel cap
Put that thereeee.
Okay, nows my chance
Lets see how this goes.
For this voice-over, I wanted to re-create the thoughts that the actor would be thinking about. This would be to give the audience added meaning to the scene, as well as understanding his thought process. I still decided to leave some places with no voice-over, to still show that the actor is not sane/ normal.
To produce the voice over, rather than using Garageband, or other audio editing softwares, I used Adobe premier Pro, which has hundreds of audio effects. This was I was able to easily place the audio to the parts of the clip that I wanted.
Effects wise, I used noise reduction, to remove some background noise and humming that was picked up by the microphone. I also changed the pitch of my voice, to give it a slightly deeper and edgier feel.
Overall, I was very impressed with how this voice-over came out, as it only took one take to get my voice how I wanted. I also diverted from my script slightly, when watching the scene, so it sounded my natural, like an actual decision. If I said it too late, I would only cut it and move it a few seconds backwards.
Workshop 2: Dubbing Audio
Shaun Of the Dead - Shop scene:
Script:
Comes with the basic, sort of, digital package.. err
You've got yerrr.. lifestyle channels there- bit of Trisha
ummm, you've got entertainment- I dunno what that is
News
All the basic, err, news... channels
Shaunnn
uh-yeah.. I'm with customers
-- it's yer dad
uhm
He's not my dad
He's my step dad
Phillip
-- Shaun
-- I trust you haven't forgotten about tomorrow.
No
-- Your bi-monthly visit
No- I hadn't forgotten
-- Perhaps you could bring the flowers, you forgot to bring Barbara, on Mothers day
I was gunna
-- And not a cheap, posey, from a garage forecourt
I wasn't gunna
-- Well, we look forward to seeing you tomorrow then
Okay
-- You've got red on you
For this workshop, I recorded using a different technique. All of my equipment was the same, I used a Sony a7 camera, rigged to a Rode Video Mic. However, to increase the bass, and gain different tones to work with, I recorded in 80Hz, which did reduce the amount of background noise. Meaning I didn't have to use any audio effects to remove this like last time. I also shot in a different location. It was a smaller room, with a large wardrobe, I opened the wardrobe, which had a lot of clothes in, I used this as 'sound panels' to reduce any echos or smaller background noises.
I then edited the audio together in Premier Pro again, making use of their audio effects. The previous workshop was done in one take. Whereas, this workshop required about 4 takes; doing the dialogue in pieces and cutting together helped massively. I was also able to say the words after they were said on screen, as it was easier to get the tone of voice correct. I then joined them back up to the video so that the mouth movements matched and synced together nicely.
To match my audio with the on screen movements, I compared the audio levels and spikes, between my audio and the original, allowing me to visually see where the words are, finer adjustsments were done by listening and replaying until it matched.
Rather than completely muting the original audio, I kept it in, as it makes it more realistic. However, I turned down the volume a small amount when there was dubbing; but because my audio matched perfectly and was louder, you can't hear the Simon Peggs voice. However, there are small parts that can be heard, which is where the audio doesn't match up completely.
Although I mentioned that there was no background noise, there was a small thumping noise that appeared during my second or third take, annoyingly this was the one that had the best matched audio. I suspected that due to the 80Hz recording, it was picking up my pulse running through my hand and touching the mic. To remove this, I cut it out, as it was only heard when there was no talking, I then faded out, and in, the audio with talking, making it less obvious that there was portions of audio removed.
Workshop 3:
Adding music to a scene:
Creating music for a scene:
The first part of the workshop took one go in finding the song, I wanted a monotone, slightly eerie tone, to the music, to create a tone to the scene. It matched the baron land scapes, as well as the mumbling voice of the protagonist. However, I did not want it to be creepy, as it would not fit the narrative of the film.
Once I had placed it on the timeline, I moved the intro of the song around, starting it at the very beginning, and then adjusting it to start at the two titles. I ended up fading it in, and leaving it to come in with the title of the film. This way the non-diegetic sound of the wind could be heard first. The song starting with the title, connects the two better.
Luckily, the beat and tones of the music matched up with what was being said, as well with the cuts. Making the scene seem as if it had the music in.
Overall, this workshop was very fun to do.
However, the second half of the workshop was more difficult. After trying to create some sampled music on garage band on the Mac, I moved to my phone. I got a percussion instrument, which I could strum. I decided on doing a similar style to the one before, therefore I would only need one instrument.
I practised some chords that sounded best when played together, and then played them on different shots, for, close to, the period of the shot. With some being louder and more emphasised. For example, the sun rising shot, I made louder, as well as the very last shot.
A problem that I ran into was the timing of the chords to the shot, which weren't always perfect. I kept it how it was, as some of them were only slightly out, which I felt also added to the scene. It didn't sound completely out of place.
Workshop 4:
Questions to ask interviewees:
1. What are your opinions on social media
2. Do you believe that social media can be useful to businesses
3. Have you ever encountered a business on social media
4. What are your overall opinions of businesses being on social media.
Writing:
The first interview was done inside. Unlike the previous sound recordings, I chose to do it in a wider open place, creating a more natural interview, that hasn't been heavily modified with sound panels, and smaller echos. It only took one take, after letting my subject rehearse what they wanted to say beforehand.
I decided to edit it to make it flow better, by shortening the quiet periods, and any hesitations. I also decided to keep my voice in, to give a comparison of being in front of the mic and away from the direction of the microphone, I also prefer this type of interview when I do it in real life, as it gives context to the question, and also makes the audience feel more engaged, as they can hear what is going on behind the scenes.
I did add an effect called DeNoiser, which I used to reduce any background humming. It required some adjusting and modification to make it sound natural, but also so it didn't distort any of the voices.
Overall, I think the inside interview worked very well.
On the other hand, the outside interview I approached differently. Luckily it was quite windy, which would challenge me. However, we were in a slightly more sheltered place. I used the same editing techniques as before, but the interview was quicker, as the answers were shorter.
Interestingly, the audio came out clearer outside. I didn't use any DeNoisers, or other effects. I think this was because, the microphone couldn't pick up any humms from inside, such as electricity or TV noise. And as we were sheltered, the wind didn't pass directly through the microphone. The wind also carried most outside noises away, reducing the general noises outside.
Overall, the outside interview worked extremely well, the outside noises were also at a very natural level, such as the cars going past.
Workshop 5:
Creating sound effects:
This workshop was very interesting to complete, as looking for sounds was not always the easiest. I had to sometimes find other sounds, and edit them in such a way to create a realistic sound effect for the action.
I mostly used Freesound.org to get un-copyrighted sounds that are free to use. I also created foley sound effects for the walking, when they first get out of the truck, they are the sound effects from the first video. I also hit something near the mic during the recording, which happened to sound like the unlocking of a door. When Murphy opens the door, that is also a foley sound effect created by me.
For the technical aspects, when Cooper is about to get out, I used the sounds of cutlery being brushed together. I also used the same sound effect when he is in the back of the truck, but placed a lowpass filter on it and decreased the volume. I added a wind howling sound, to create a natural background noise.
For the corn hitting the window, I found a sound effect of heavy rain hitting a car. And for any shots in the car I put a lowpass filter on it again, to muffle the sound of it hitting the windscreen, making it more realistic.
The only problem I ran into, was the door slamming effects, which only had a left auto-level, meaning it only came out of the left ear. I could have used a balance effect, to automatically add the same sound to the left ear; instead, I duplicated the track and put the swap effect on, to bring the sound into the right ear as well. I did this, because I could have more control on which channel was loudest. When Cooper shuts the door on the left hand side of the screen, I deleted the right channel, so it only came through the left ear, making it seem more realistic.
Overall, this was my favourite workshop, and worked most technically well.
Monday 9th September 2019
Sound design In Dunkirk
Dunkirk final dogfight scene:
Sound effects:
- Hans Zimmers pocket watch, speeds up and slows down with the actions
- whoosh sounds, remakes the wind noise
- plane noise rising as it comes comes down
- partial tension rising sound, chords
- booms
Foliage:
- Spitfire noises inside
- spitfire noises outside
- wind
- spitfire when it runs out
- spluttering
- water
- noise of approaching plane
- boat engine
The foliage of this scene adds to the senses of the audience as well, as it makes the scene much more realistic, with many sounds layered over each other. The foliage of the scene is also a mixture of synchronous and non synchronous, as different visuals match up with noises. Non-synchronous sounds help prepare the audience for what they are about to see on screen, as well as what is going on in the background.
Dialogue:
- almost no talking at the beginning
- general chatter of crowd
- the general talking to the boaters
- minimal
Music:
- Music is a binaural sound for the beginning, once the spitfire runs out, the music takes over completely.
- changes to fit mood, when everything looks okay on ground, music becomes more happy (use of violins)
- music cuts out during tense scenes
- music resumes when plane is shot down - happy again
The score used throughout the scene is non-diegetic as it cannot be heard by the characters. It is very subtle and is only used so that the audience can process the scene correctly, whether they should be happy, concerned or sad. There is a binaural, almost multi tone, sound playing during the beginning, which makes the scene, almost, mesmerising. Especially once the spitfire runs out of fuel, the scene is almost completely filled with the score, produced by Hans Zimmer.
There is also a change in the score to fit the mood; happy when the crowd and characters on the ground are happy, and concerning again they realise that there is another enemy plane coming for one last try. However, the score then completely stops, and the sound effects and foliage are heightened, drawing attention, and concentration to the dogfight. The score resumes instantly, once the plane is shot down, in a happy tone.
There is also a change in the score to fit the mood; happy when the crowd and characters on the ground are happy, and concerning again they realise that there is another enemy plane coming for one last try. However, the score then completely stops, and the sound effects and foliage are heightened, drawing attention, and concentration to the dogfight. The score resumes instantly, once the plane is shot down, in a happy tone.
Sound Design in Secret Life of Walter Mitty
Space oddity Helicopter scene:
Sound effects:
- Not many at beginning of the scene
- helicopter sounds
- helicopter whirring creates tension - gets more high pitched
- jumping on side of helicopter
There is not many non-diegetic sound effects that can be heard. Instead, the little sound that there is at the beginning, creates a very naturalistic pub setting, with no one in. However, the little sound also suggests that the actor is paying attention solely to the actress.
The sound effects later on within the helicopter are also diegetic, as both the actors and the audience can hear them. Although, they are still used to create tension, for instance when Walter Mitty makes the decision to run towards the helicopter; which uses a hyper-realistic sound of the helicopter starting.
Foliage:
- general live performance in quiet pub
- quiet
- helicopter starting
- wind
- grass blowing
- paper rustling
Again, there is not much foliage during this scene, bar the helicopter and wind, which is used as ambience. Again making the audience pay attention to Walter and his decisions. It also puts them in his position, as he is concentrating so much.
Dialogue:
- singing
- small talking at beginning
- small talking in helicopter
There is a small amount of dialogue said by the actress, which addresses Walter. However, this doesn't make sense for the rest of the film, confusing the audience. She then begins to sing David Bowies - a space oddity, which she is singing live... However, it then turns into the actual song.
The conversation during the helicopter is considered a naturalistic and conversational dialogue, as it pays no real reason to the rest of the film, bar solidifying that Walter had thoughts about not going on the helicopter.
The conversation during the helicopter is considered a naturalistic and conversational dialogue, as it pays no real reason to the rest of the film, bar solidifying that Walter had thoughts about not going on the helicopter.
Music:
- Live singing
- morphs into actual song for the scene
As I previously mentioned, the song that the actress was singing in real life, morphs into her singing with slightly more base and other instruments, followed by a male singer (only in audio), and then into the actual song, with David bowies voice. Effectively, the song has gone from diegetic, to non-diegetic, as only the audience can hear the next part of the song. Although, Walter Mitty is most likely singing the song in his head, as he has a wild imagination, so it could be argued that the song is still diegetic; as he can hear it within his head.
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POST 2
Analyse 2 key scenes from the film using the links below or your own sources. You should be explaining how the different sound elements ( spoken word, music and sound effects ) create mood and meaning for the audience and how they relate to the images the audience sees. Use as many key terms as possible and use timings .
Opening Scene:
The opening scene begins with a black screen, and non-diegetic news readings. This immediately sets the mood for the film, as it talks about certain events, saying "Day 1000 of the siege of Seattle". This makes the audience concentrate on what's being said. It then proceeds to talk about the death of baby Diego, before cutting to a scene of a small cramped coffee shop, where the audio becomes diegetic. The news now has a slightly tinnier sound, suggesting it is coming through the TV.
The news is then broken up by the main character, who says "Excuse me', showing that he's not as involved as everyone else, as he is getting on with his daily life. To add to the realism, as the main character walks out, the news audio doubles; this makes the scene much more realistic, and contributes to the Point Of View style of the film, as that's what the persona would hear.
The diegetic music then takes over, suggesting it might become non-diegetic, but once he walks outside, the music is drowned out by the sound of a busy London. The outside sounds, appear, as the objects appear. For example, the footsteps of the police officers, the beeping and the sound of the Tuk-Tuk on the right hand side of the scene.
The scene is then followed by an explosion, with diegetic fire bells and shouting. However, there is also a, hyperrealistic, high pitch ringing that comes a short while after the explosion, mimicking the sound of tinnitus after the incredibly loud noise. This drowns out the other sounds and also leads the scene onto the title sequence, suggesting that the film is going to be full of war and similar settings. The screaming also stops exactly as the title shows, which makes it far more horrifying and provokes the scene into its emotional realism.
Interestingly, there is no conversational dialogue within this scene. This would normally be useful in understanding what's going on. However, the news readers are used to suggest that the world has fallen into anarchy. The titles and dates also suggest what time period the film is shot in.
The combination of sound, effects, little dialogue, and musical scores, creates a dull mood, and sets the tone for the rest of the film, suggesting that it is shot in a dystopian future, where many different cultures have mixed.
Car Scene:
The scene uses a lot of conversational dialogue throughout. This helps the audience gather more information about the narrative of the film, as well as delve further into the relationship of Theo, the main character and Julianne, his ex girlfriend. The scene is very subtle, which is mostly caused by the normal, naturalistic diegetic sounds. For example, the car radio, and the low hum of the car. The conversation then turns to functional dialogue, as their attention turns to directing each other, as the scene grows more tense. Julianne says "GO! GO! We're going to make it".
The audience is the Brought to the attention of the car and the fire, which creates a diegetic rumble sound, as well as hyper realistic outside noises; that, although wouldn't be inaudible, wouldn't be as loud in real life. This 'heightens' the audiences senses. Less noticeably, the score coming through the radio becomes more quiet within the audio mix, although it is still there, which almost leads to a sensory overload, making the scene feel much more tense.
The audience is next aware of the shouting and weapons on the outside of the vehicle, which are very naturalistic, as they've been muffled slightly.
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Post 3:
Friday 27th September 2019
The opening sequence of Cars:
- Black screen
- Diegetic Voice over
- conversational, (talking with himself)
- Informative
- Sounds of crowd - blurred/muffled
- Flashes of cars
- Car sounds zooming past
- Sound of unknown character banging on the side and talking
- Non-diegetic music begins, as lightning rolls out
- Song by Sheryl Crow - Real Gone
- crowd becomes louder/ less muffled
- Helicopter noise + general stadium sounds
- As the camera position changes, the tone and sound of the cars change = realistic
- Small bits of chatter - car handing out merchandise
- small amounts of conversational dialogue - between the campers
- Helps split up action
- diegetic car wheels being replaced by team
- Another camper that is 'singing' the song, potentially making it a diegetic song
- Music fades out slightly
- Replaced with crowd cheering
- conversational dialogue + informative dialogue of the hosts, talking about the racers
- introduces the cars
- diegetic sound effects of the screens - chick hick, has clank sounds
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Post 4:
Wednesday 2nd October 2019Stacey Dooley investigates : Selling drugs online
Stacey Dooley's interviews can be very difficult to retrieve sound from, especially in rushed, live situations, such as when she is talking to the child dealers. By including spoken word that is live, and harder to get, gives a more realistic sense of the documentary, as the lighting hasn't been set up and audio hasn't been attached for clear speaking. This kind of style can be seen through the episode, which suggests to the audience that it is supposed to be like this. The words printed on screen help the audience understand what is being said. However, this also enhances the audiences experience.
The producers have realised that the audio may not be the best, so not only have they subtitled the interviews, but Stacey also speaks to the camera, which is functional dialogue, whilst in the van, giving an overview of the interview, as well as her actual feelings about the encounter. The producers have also decided to overlay Stacey's voice over, over the drug deals, where there is space. This acts as her thoughts, what she was thinking during the moment, again showing her insight to the drug deal.
There is a small amount of non-diegetic musical scores used to direct the tone of the scene to the audience. This helps them predict what's going to happen next; for example, if she's going to meet a dealer that may turn to be difficult. It also helps create tension for certain scenes or interviews that need it. Although, not only is the score used for creating tensions, but for calming the audience down after a tense scene.
The use of background ambience also adds to the realism of the documentary, because it matches the raw feeling of the actual interviews. Although most documentary directors want the it completely quiet, and sounding perfectly, by including the actual background ambience of cars, traffic, and talking, it adds an extra element of sound.
Although there is not many non-diegetic sound effects, as there is no need... this is a real life documentary, not fake; the use of the hyper-realistic, synchronous sound effects for the texts, that are popping up on screen, makes it more realistic, and catches the eye of the audience, as it is different, and also accompanies an on screen action.
Another element of Stacey Dooley's documentaries is her accent and dialect. She is from Luton.
Although, most presenters are from a middle class background, with a strong British accent. However, hers is broken and much different to the conventional British presenter.
There is also many difficulties with recording live sound, especially when undercover. Not only does the sound device have to be hidden amongst, the other recording equipment, the clothing; it also needs to be able to capture clear audio... even when it is not directly in front, facing or above the subject that is speaking.
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Post 5:
Wednesday 6th November 2019
Workshop1: Voice-Over
No Country For old men: Car explosion scene
hmmm. What can I do?
I've still got that shirt, I'll use that
Grunting
This'll do
Nobody's that way... (curiously)
Aaannddd
No bodies that way
I'm gunna dip that in there.
Cover the fuel cap
Put that thereeee.
Okay, nows my chance
Lets see how this goes.
For this voice-over, I wanted to re-create the thoughts that the actor would be thinking about. This would be to give the audience added meaning to the scene, as well as understanding his thought process. I still decided to leave some places with no voice-over, to still show that the actor is not sane/ normal.
To produce the voice over, rather than using Garageband, or other audio editing softwares, I used Adobe premier Pro, which has hundreds of audio effects. This was I was able to easily place the audio to the parts of the clip that I wanted.
Effects wise, I used noise reduction, to remove some background noise and humming that was picked up by the microphone. I also changed the pitch of my voice, to give it a slightly deeper and edgier feel.
Overall, I was very impressed with how this voice-over came out, as it only took one take to get my voice how I wanted. I also diverted from my script slightly, when watching the scene, so it sounded my natural, like an actual decision. If I said it too late, I would only cut it and move it a few seconds backwards.
Workshop 2: Dubbing Audio
Shaun Of the Dead - Shop scene:
Script:
Comes with the basic, sort of, digital package.. err
You've got yerrr.. lifestyle channels there- bit of Trisha
ummm, you've got entertainment- I dunno what that is
News
All the basic, err, news... channels
Shaunnn
uh-yeah.. I'm with customers
-- it's yer dad
uhm
He's not my dad
He's my step dad
Phillip
-- Shaun
-- I trust you haven't forgotten about tomorrow.
No
-- Your bi-monthly visit
No- I hadn't forgotten
-- Perhaps you could bring the flowers, you forgot to bring Barbara, on Mothers day
I was gunna
-- And not a cheap, posey, from a garage forecourt
I wasn't gunna
-- Well, we look forward to seeing you tomorrow then
Okay
-- You've got red on you
For this workshop, I recorded using a different technique. All of my equipment was the same, I used a Sony a7 camera, rigged to a Rode Video Mic. However, to increase the bass, and gain different tones to work with, I recorded in 80Hz, which did reduce the amount of background noise. Meaning I didn't have to use any audio effects to remove this like last time. I also shot in a different location. It was a smaller room, with a large wardrobe, I opened the wardrobe, which had a lot of clothes in, I used this as 'sound panels' to reduce any echos or smaller background noises.
I then edited the audio together in Premier Pro again, making use of their audio effects. The previous workshop was done in one take. Whereas, this workshop required about 4 takes; doing the dialogue in pieces and cutting together helped massively. I was also able to say the words after they were said on screen, as it was easier to get the tone of voice correct. I then joined them back up to the video so that the mouth movements matched and synced together nicely.
To match my audio with the on screen movements, I compared the audio levels and spikes, between my audio and the original, allowing me to visually see where the words are, finer adjustsments were done by listening and replaying until it matched.
Rather than completely muting the original audio, I kept it in, as it makes it more realistic. However, I turned down the volume a small amount when there was dubbing; but because my audio matched perfectly and was louder, you can't hear the Simon Peggs voice. However, there are small parts that can be heard, which is where the audio doesn't match up completely.
Although I mentioned that there was no background noise, there was a small thumping noise that appeared during my second or third take, annoyingly this was the one that had the best matched audio. I suspected that due to the 80Hz recording, it was picking up my pulse running through my hand and touching the mic. To remove this, I cut it out, as it was only heard when there was no talking, I then faded out, and in, the audio with talking, making it less obvious that there was portions of audio removed.
Workshop 3:
Adding music to a scene:
Creating music for a scene:
The first part of the workshop took one go in finding the song, I wanted a monotone, slightly eerie tone, to the music, to create a tone to the scene. It matched the baron land scapes, as well as the mumbling voice of the protagonist. However, I did not want it to be creepy, as it would not fit the narrative of the film.
Once I had placed it on the timeline, I moved the intro of the song around, starting it at the very beginning, and then adjusting it to start at the two titles. I ended up fading it in, and leaving it to come in with the title of the film. This way the non-diegetic sound of the wind could be heard first. The song starting with the title, connects the two better.
Luckily, the beat and tones of the music matched up with what was being said, as well with the cuts. Making the scene seem as if it had the music in.
Overall, this workshop was very fun to do.
However, the second half of the workshop was more difficult. After trying to create some sampled music on garage band on the Mac, I moved to my phone. I got a percussion instrument, which I could strum. I decided on doing a similar style to the one before, therefore I would only need one instrument.
I practised some chords that sounded best when played together, and then played them on different shots, for, close to, the period of the shot. With some being louder and more emphasised. For example, the sun rising shot, I made louder, as well as the very last shot.
A problem that I ran into was the timing of the chords to the shot, which weren't always perfect. I kept it how it was, as some of them were only slightly out, which I felt also added to the scene. It didn't sound completely out of place.
Workshop 4:
Questions to ask interviewees:
1. What are your opinions on social media
2. Do you believe that social media can be useful to businesses
3. Have you ever encountered a business on social media
4. What are your overall opinions of businesses being on social media.
Writing:
The first interview was done inside. Unlike the previous sound recordings, I chose to do it in a wider open place, creating a more natural interview, that hasn't been heavily modified with sound panels, and smaller echos. It only took one take, after letting my subject rehearse what they wanted to say beforehand.
I decided to edit it to make it flow better, by shortening the quiet periods, and any hesitations. I also decided to keep my voice in, to give a comparison of being in front of the mic and away from the direction of the microphone, I also prefer this type of interview when I do it in real life, as it gives context to the question, and also makes the audience feel more engaged, as they can hear what is going on behind the scenes.
I did add an effect called DeNoiser, which I used to reduce any background humming. It required some adjusting and modification to make it sound natural, but also so it didn't distort any of the voices.
Overall, I think the inside interview worked very well.
On the other hand, the outside interview I approached differently. Luckily it was quite windy, which would challenge me. However, we were in a slightly more sheltered place. I used the same editing techniques as before, but the interview was quicker, as the answers were shorter.
Interestingly, the audio came out clearer outside. I didn't use any DeNoisers, or other effects. I think this was because, the microphone couldn't pick up any humms from inside, such as electricity or TV noise. And as we were sheltered, the wind didn't pass directly through the microphone. The wind also carried most outside noises away, reducing the general noises outside.
Overall, the outside interview worked extremely well, the outside noises were also at a very natural level, such as the cars going past.
Workshop 5:
Creating sound effects:
This workshop was very interesting to complete, as looking for sounds was not always the easiest. I had to sometimes find other sounds, and edit them in such a way to create a realistic sound effect for the action.
I mostly used Freesound.org to get un-copyrighted sounds that are free to use. I also created foley sound effects for the walking, when they first get out of the truck, they are the sound effects from the first video. I also hit something near the mic during the recording, which happened to sound like the unlocking of a door. When Murphy opens the door, that is also a foley sound effect created by me.
For the technical aspects, when Cooper is about to get out, I used the sounds of cutlery being brushed together. I also used the same sound effect when he is in the back of the truck, but placed a lowpass filter on it and decreased the volume. I added a wind howling sound, to create a natural background noise.
For the corn hitting the window, I found a sound effect of heavy rain hitting a car. And for any shots in the car I put a lowpass filter on it again, to muffle the sound of it hitting the windscreen, making it more realistic.
The only problem I ran into, was the door slamming effects, which only had a left auto-level, meaning it only came out of the left ear. I could have used a balance effect, to automatically add the same sound to the left ear; instead, I duplicated the track and put the swap effect on, to bring the sound into the right ear as well. I did this, because I could have more control on which channel was loudest. When Cooper shuts the door on the left hand side of the screen, I deleted the right channel, so it only came through the left ear, making it seem more realistic.
Overall, this was my favourite workshop, and worked most technically well.
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