Reflective part 2

Heylo again

Where I stopped in the first part was sound design history on film sound effects, where we go now is onto the second film design. As I stated many times in all my documents this project tries to identify what happens when we increment the sound effects so each previous film must have the elements of the one preceding it. So with that in mind I layered the first film track into the second mix and began to now establish the realism.

What was done was playing the movie over and over picking out what was thought needed a sound to establish a comfortable sonic environment where people would feel comfortable listening to and not question the amount in place. This stage's sound effects list was more dynamic than the first so new material had to be sourced which came from more worldly objects like sizzling pans, door slams, creaking windows, and much more etc. Not all of these were used of course and some effects where sought elsewhere like in Reason, Kontakt and edited in an experimental fashion in Audactiy and Soundforge.

What went on in terms of research was into Film shot styles and the sound effects they carried with them. This topic was seen as a doable task at first to create a chart showing all possibilities but that however proved to be a project in its own and would be an interesting one to do. However lots of films were researched to acquire a knowledge of what goes into each type of shot and some trends did arise like in ECU ( extreme close up) shots in situations like a gun shot added with a slow motion effect the results where nearly the same every time. The shot was the only or the main with exception to distorted Foley to establish the slow motion existed and was filtered with delay or reverb usually to add sustaining relevance, I assume but also if the shot was played at the same speed of the film the sound would be very bassy and what the engineers try to do is create a different representation for slow sound.

Gears began turning to find out how you could portray something within trying to keep it real but seeming hyper real and also what was the difference. I assume most people have never been shot at but it was found out that whizzes in films from bullets don't actually make that noise with modern rifles as the bullets are too fast. Now this made me think very hard on what I put in the realism film, everything I put in was in attempts to create that "its real" effect.

Completing the realism film was difficult, not too get too carried away with adding sounds and not to leave too much out, as with most realism films, not everything has a sonic signature attached to it, only the most important sounds to establish what i call, an object, setting and motive.

Implementing the sound effects into the hyper realism film felt easier with the creative scope unleashed - however I did not want to go too far from the theme I was building up from the first 2 films, then the testing would be against 3 films where one was was completely a different take altogether if I allowed myself to do so. Even though there were restraints it was still fun to play around with more sound effects experimenting and even coming up with accidents more often than not just like when I recorded accidentally from my pocket when I went shopping and came back and edited it and is now in the film :)

What my main focus was to emphasis the motif I had already in place and just layered on more effects to that effect, emphasising new areas not done in the previous films and even adding a slightly new take on some bit like the buildings appearing in the rain after the other city was destroyed.

that is all for today on this Honours Project reflection.