Flat life Assessment:

My final assignment was for sound and moving image, where we given a video titled “Flatlife” which had no audio, and it was tasked to us in groups to record the Foley and other sound effects and then dub them over the clip.

The video has 4 rooms being displayed with each of our group being assigned to 1 of them. I was assigned flat 3, which is the bottom left flat in the video which features a man watching TV and fixing things within the others flats.

I started this assignment by watch the clip, making some notes about what was happening in the flat and what sounds may be associated with each, before then condensing down the list so I knew what sort of sounds I had to acquire. Most of them I could record myself, such as a door opening and closing, hitting against a ceiling, etc which I did using a Palm Track hand held recorder.

The other sounds I had to either make myself or had to sample from elsewhere, with examples of the later being the white noise of the TV, which was used by recording a signal generator, and the music accompanying the rocket being composed to give a hopelessness and emptiness to the setting.

Sample-wise I used a fire-alarm, an explosion for the TV com-busting and hitting the truck, as well as some “simlish” dialogue from the “Sims” games to act as speech between the occupants.

All the samples I used where under creative commons, so I could them for educational purposes,(The sample sources are listed at the bottom of the page.)

It was then a case of going through the clip and finding where the sounds needed to be added. I then received my groups stereo Foley tracks to add to my own and had to balance them all out so that all the effects could be heard together. In hindsight I would of mixed my Foley louder, as when I put them all together I had to increase the volume in places so everything could be heard over some of the other flats.

I then in addition to this added music to it to make it seem more fulfilled, using the arrangement from Blur’s “Park life” as the bulk of the song, but instead slowing it down and transposing the guitar parts to a piano.

The Isolated Foley is displayed below:

References:

https://www.freesound.org/browse/tags/sound-effects/

http://soundbible.com/free-sound-effects-1.html

https://www.youtube.com/watch?v=7pWaJV_C1cM

Film Soundtrack Components:

Task 1: Explain these film soundtrack components:

Music:

Music is used throughout film and other media in numerous different ways, most of which are laid out in Zofia Lissa’s Ästhetik der Filmmusik (1959: 115-256). [1.]

The 10 Most prominent uses are:

  1. Emphasise on Movement –underlines a specific movement, such as choral synths while flying.
  2. Emphasise on Real Sounds –exaggerates a real life sound, something falling down accompanied by loud bass drum.
  3. Representation of Location –provides a particular stereotype for a cultural or historical origin e.g. lutes and drums for a medieval setting.
  4. Source Music –Diegeticsound within film, which happens within that world e.g. marching band at a parade.
  5. Comment – gives off a particular vibe for the scene.
  6. Expression of Actors Emotions – used to exaggerate character emotions, e.g. music in a minor key when the main character is sad.
  7. Basis for Audiences Emotions – Leads the audience into feeling a certain way, e.g. a build up before a “jump scare”
  8. Symbol –associated with a character, such as when a character is being spoken about but not present, at some point in the narrative becomes intrinsically linked with the character.
  9. Anticipation of Subsequent Action – used as a cue that the mood of the scene is going to change.
  10. Enhancement and demarcation of the films formal structure – music that progresses the films narrative, may show passage of time or that a new section of the film is about to commence.

Robert L Mott laid out nine of the most crucial components of how a sound is perceived, with any major change resulting in a the sound giving off a different notion or a new sound being created entirely. [2.]

Including:

Music Components:

  • Pitch:

– Lower frequencies give off notions of power, while midrange frequencies give the sound its energy and higher frequencies tend to imply presence, or how close we are to its origin.

  • Timbre:

– The “Tone” or “Colour” of the sound, which is made up of the unique balance between the fundamental frequency, harmonics and overtones.

  • Loudness:

– The intensity of the sound, becomes meaningful when compared to something else, humans are more sensitive to mid range frequencies, so they will sound louder when combined with a sound of a lower or higher pitch. It is also a good representation of the viewer’s distance from the sound source.

  • Rhythm:

– How the sound relates to Tempo, if music, which notes are accented or exaggerated, if a sound is repeated at regular intervals, we perceive it to be a pattern, and look out for it later on.

Sound Envelope Components:

  • Attack

– How fast of slow the sound builds, with a fast attack creating the sense of immediacy, while a slow attack builds tension.

  • Sustain

– How much energy the sound has until it decays, with a long sustain implying a sense of strength, while a weak one implying the opposite.

  • Decay

– How long before the sound dies away to silence, a sound with a long delay implies it’s in a very reverberative space, possibly indoors, while non would imply it’s in an outdoor environment.

Record and Playback Components:

  • Speed

– By slowing a sound down you increase the sustain, but it also lowers the pitch, this could give the impression something is building in intensity or its in a dreamlike impression.

Sound Effects:

Musical elements need to be backed up with non-musical sounds, which would be added since they wouldn’t be able to be tracked during filming.

This could take the form of something fictional which needs a new sound created for it because one doesn’t exist, which would fall under sound design.

While real life sounds would have to be performed in postproduction along to the created footage, called Foley.

Dialogue and Spoken Word:

Like sound effects, its very rare a movie will use the recorded audio from the live take in the final version, instead, the actor(s) will take it in turns to come into a studio and sync their lines to the video, this process is known as dubbing.

Task 2: Identify examples in the provided film clip of Terminator 2 to illustrate and elaborate on your explanations of Task 1:

1.Emphasise of movement:

01:51 John Connor is walking through the trenches, while patriotic music plays as he passes his men. This consists of pounding drums and orchestral elements, with the tempo of the drumming being the same as a marching military pace.

2.Emphasise on Real Sounds:

00:38: A machines foot crushes a human skull underneath its foot, creating a realistic cracking sound as it breaks followed by a choral synth pad with a slow attack and release. It is loud and sudden, cuts through the atmospheric textures with the pitch matching the proximity the camera is to the subject.

3.Representative of Location:

00:50 the camera shows a machine vehicle running over a mound of human skulls. In the background overwhelming all the other sound effects is an ominous bass tone, pulsating, rising and dropping in volume, reprehensive of the bleak post apocalyptic future.

4.Source Music:

05:53 The Terminator walk’s into a bar with country music playing on the radio, and is about conversation level in volume. This sound can be heard within the films world and is diegetic, as it helps set the scene without interfering with the sound effects and dialogue.

5.Comment:

01:05 during the fighting a human solider gets shot and is accompanied with a scream and a minor synth chord stab. Due to the timbre of the chord, it is being used to comment we should feeling of sad and melancholy.

6.Expression of Actors Emotions:

07:57 The Terminator walks out of the bar with his newly acquired clothes, with George Thorogood’s “Bad to the Bone” playing non-diegeticly. Though being a machine and not having emotions, it reflects and comments on the characters emotionless persona.

7./8. Symbol/Basis for Audiences Emotions:

06:30 throughout the film we get the Terminator’s “Motif” every time they enter an otherwise ambiguous scene, which consists of the sound similar to two metal pipes being beating together in a regular rhythmic pattern, and a sustained foreboding bass synth.

9.Anticipation of Subsequent Action:

15:11 During a first person shot of an un seen character as they sneak up on the a police officer, The motif is repeated, associating subsequent violence every time it played.

10.Enhancement or Demarcation of the Films Formal Structure:

09:17 after the prologue and the opening credits have finished the Terminator theme starts playing, building in intensity. This consists of rhythmic drums with singular metal pipe hits ringing out, backed up with choral and orchestral elements, which slowly builds to a crescendo before moving to the next scene.

Sound Effects:

00:42 onwards during the opening battle, there are elements of both real and created sounds, these include the explosions from the bombs (Real) accompanied by the laser fire (Created) vary in pitch and volume depending on their proximity to the camera, (as evidenced at 01:34)

00:50 the sound of skulls cracking and breaking underneath the weight of the machines treads, and machine aircraft noises at 01:43 both of which would use modified existing sounds plus synthesised elements to create the otherworldly futuristic sound which sounds familiar enough to know what it is, but different enough to fit the mood.

Dialogue and Spoken Word:

00:22 Sarah Connor sets the scene by explaining what has happened for the future to end up like this, holding the viewers hand. This is known as Non-Diegetic sound as the characters in this part of the film cannot hear this audio.

The other use of dialogue in the film allows the films characters to interact with each other, and drive the story’s narrative, and needless to say is diegetic since everyone is aware of it.

Task 3: Using the musical elements terms collated in class and the “12 functions of music” as your vocabulary, analyse the audio components’ influence on narrative in the film clip of Terminator 2.

1.Emphasise on Movement:

The pounding drums with a fast attack, giving a sense of immediacy with the tempo of these drums accentuating the movement as it brings to mind an army march.

The lower bass element implies that he demands respect, as he is the leader of the human resistance, and an important character, while the higher pitched elements give the intimacy that we are in a place of great importance.

2.Emphasise of Real Sound:

When the Terminator crushes the human skull it is loud and sudden, therefore it is making a statement that the machine is superior to mankind, while the choral synth’s long sustain and release represents that the soul of humanity is being crushed out of existence. The sustained note continues into the next scene were its builds suspense until it is revealed that its not just one machine.

3.Representative of Location:

The scene consists of an almost siren like bass sound, which pulsates at a fairly slow tempo, giving the impression of a looming threat. It’s sweeping from low to mid range frequencies inferring the machines closing in distance.

4.Source Music:

The song playing on the radio is “Guitars, Cadillac’s” the typical genre of sound to be heard in that environment, and features the lyrics “Another tale about a naïve fool who came to Babylon, and found out that the pie didn’t taste so sweet.”

This is also a foreshadowing comment, relating to the patrons of the bar not getting what they expected when the Terminator walked through the door.

5.Comment:

The minor chord stab, due to the tonality, expresses to the audience, that the machines are gaining the upper hand, and should be shocked and appalled at the loss of human life.

If it where a major chord, the tonality would give us the feeling that we should be routing for the machines, since to this point we have seen only a Terminator as a stand alone character.

An example of a major chord progression during a fight scene to emphasise who we should be routing for can be seen in the opening scene of Indiana Jones: The Last Crusade, when Indi is fighting on top of the train, fighting off the bad guys, since he is the hero, the music becomes associated with him.

6.Expression of Actors Emotions:

“Bad to the Bone” features mid tempo pounding drums and guitars, a rock and roll tune with association with that lifestyle now being portrayed by the character. The lyrics “Said ‘leave this one alone’ she could tell right away, that I was bad to the bone” acts as a warning message that he not to be messed with.

7/8/9 Symbol/Expression of Audiences Emotion’s/Anticipation of Subsequent action:

The metal pipe hits represent the machine-like efficiency these killing machines operate at, with the rhythmic pattern acting as a way of taunting their victims, while the lower bass not emphasises that they are powerful. When this sound plays the audience knows the subsequent action is going to get hurt or killed.

10.Enhancement or Demarcation of the Films Formal Structure:

Much like the tempo of the pipe hits in the previous point, the drums in the credits imply the threat is getting closer as they increase in volume each repeat. They also bring on ideas of war and combat, against the backdrop of the terminators face wreathed in flame, we are told that this character we need to look out for in the next scenes, as it is a threat to the hero’s. The Choral and Orchestral elements, add timbre to the credits, implying it’s a big finale before the next section of the film starts.

Sound Effects: [3.]

As a quote from James Cameron, the director of the film, the music had to

“Sound like it was injected with testosterone, it had to be inflated to unworldly possibilities.

On example is the skull being crushed at the start, which is actually just a pistachio nut in a metal plate, but sonically enhanced to sound more intimidating, implying the machines great strength.

Gary Rydestrom, the sound director, also said that he liked adding voice like elements to non-vocal sounds. This change in envelope and modulation works well in the opening scene, as it plays along side the image of all the skeletons in the barren landscape, making it sound like the whispers of the dead.

Dialogue and Spoke Word:

All dialogue in feature films is re-dubbed once the scene is shot, since this makes it crisp and clear, since the audio from the set would be filled with environmental noises and other sounds. By having the re-dubbed sounds, the director can normalise them if they are to quite, modify them to sound unnatural, with the overall goal to make certain parts emphasised for the audiences benefit.

References:

[1.] http://mylearning.bpc.ac.uk/mod/folder/view.php?id=50392

[2.]http://filmsound.org/articles/ninecomponents/9components.htm

[3.]http://filmsound.org/t2/

[4.]http://mylearning.bpc.ac.uk/mod/folder/view.php?id=48814 (Terminator 2 Clip Used)

Contrasting Meaning Through Music

For this assessment we where given the opportunity to score music for the Video Clip below, some of you may recognize it, however I wasn’t aware of the scene so therefore I had no idea of the original clip’s soundtrack, giving me many different ideas of what sounds I could apply to it.

 

We where presented with a mute version of the clip, and where asked to compose two different meanings for it with our compositions. The only rules to these compositions where that they couldn’t include dialogue or sound effects, (Explosions, Rain etc.)

Composing for Film is very different to regular composition, as in popular music at least, you have to follow roughly some form of structure, like having verses or choruses, or introducing new elements at the start or end of a specific section. Music for Film is driven by the media, so if its an action scene and the main character is being chased, the music would speed up and slow down when they do, or if its a scene where a character goes from being happy to sad, the music dynamic and the key will change.

Composition 1:

For my first take on this clip I decided to have it as an up tempo, action movie style aerial chase sequence, with the occupants of the car trying to get away from whatever is chasing them, being whatever’s point of view the camera is from.

The way I conveyed this in my composition started off with the drums, which where programmed into a drum plug-in known as EZdrummer, on an acoustic kit, at 160Bpm. By having them at this fast tempo it gives the impression that the car and camera are travelling at great speed, giving it energy and purpose.

I then recorded some electric guitars to go along to the drum line, by having them heavily distorted, and playing a fairly heavy repeating riff, It adds menace, implying that the occupants of the car are either in great danger, or are very dangerous.

I then recorded some clean electric guitar over the top, with a chorus effect on it to compliment the distorted guitars, which added some nervous overtones to the scene. It also gives the audience that maybe the car occupants are aware of what is happening and are filled with dread, with the single octave chords feeling like a shiver down the spine.

I had it so the longer the song went on for the more the dynamic increases, gaining in energy and complexity, with the song starting off with just a kick, snare and high-hat and then working their way onto the cymbals. I also had it automated so the song starts off with one guitar and then the other one slowly fades in, with the first one also having a flanger effect on it. This slow modulating phasing hopefully giving the impression of movement, possibly of an extraterrestrial origin.

Once the clip is in its final stages, the song gets more repetitive, with the clean guitar doing loads of expressive bends to add tension, as you dont know how the clip is going to be resolved, making the scene feel more intense.

The clip can be viewed below:

 

Composition 2:

For my second composition I decided to do the complete opposite, and have a relatively calm, fairly ambient style electronic piece which slowly progresses as the clip does.

The clip starts out with a low pass filtered white noise track, which was being modulated before being filtered, giving the impression of wind. As opposed to my other clip where it feels like a chase, this gives the impression that the audience is soaring through the air, over the trees and lake,conveying feelings of freedom or aloofness.

On top of this is this is a simple repeating motive, going back and forth between a couple of notes, which gives the scene a slower pace to my other clip. With the lack of sharper sounding higher frequencies due to a lack in harmonic content it could portray a more reclusive perspective, as maybe the camera is merely observing the area and the car just happens to be there.

A Synth pad is then introduced into the mix, which then adds texture to the score, as well as its long prolonged attack and release giving the feeling of awe from the camera’s perspective, as they are sawing above the trees, taking everything in.

It is then at this point where a sub-bass like kick and an 808 snare sound enter the mix, as the camera focuses on the car traveling down the road, these elements “grounds” the atmospheric sounds, giving the sense that the camera is intrigued by the car and is following to see where it goes. The kick sound could also be the sound of a heartbeat, giving the impression that it could be from the occupants of the car, and the camera has homed in on the source, or is the very heartbeat of the audience themselves.

It is also at this point that the pad becomes side-chained with the kick, which could convey mystery as the kick is interrupting the awe of synth, implying a fascination from the audience.

finally the last element to join the fray within this sonic landscape, is a “trap” like hi-hat triplet pattern, which works with the kick and the snare to adds progression and movement within the scene.

All of this continues almost until the end of the scene, where just as the car is reaching an overpass on a mountain, it cuts to black, with us not knowing whats going to happen next, which is where all the sounds cut off apart from a singular note, which fades out as the clip finishes, leaving us not satisfied with the ending, or holding on to see what happens next.

You can watch this clip below:

 

Hopefully these conveyed their given meanings, It was alot of fun working out the arrangements.

Fli.

 

Different types of Sound within Film.

Below are 5 Categories which sound within a film can be identified. (Sorry Its slightly LOTR themed, it was purely accidental as these where some of the best examples I could think off!)

Acousmatic Sound or Music in relation to film:

Acousmatic Sound is sound which can be heard, but with source of the sound not being visually present, however the sound source can be subsequently revealed later on.

As a result this means the sound could start off Diegetic and then become Non-Diegetic, or visa versa.

This creates a sense of mystery and depth to a scene as it makes it seem like there is more going on outside the viewpoint the scene is playing from.

Example: Lord of the Rings: The Fellowship of the Ring (2001) They have a Cave Troll

At the start of this scene Pippin accidentally knocks a bucket down an old well alerting the orcs that they are trespassing, it cuts to a scene of the empty mine works with the sound of orcs and drums, which fits the mood of the scene since none of the fellowship know where the sound is coming from.

Diegetic Sound:

Diegetic Sound is anything that both the audience and the characters can hear, such as environmental noises, dialogue between characters and sound coming from objects in the scene.

This is also known as “literal” sound as it would be only what the characters would be hearing if it were a real setting.

Example: Saving Private Ryan (1998) Beach Scene:

The opening of this scene is purely diagetic sound, as there is not score over the top or any narration.

Non-Diegetic Sound:

The opposite of Diegetic Sound, can only be heard by the audience and is a reprehensive of coming from outside the story space. This includes film scores, exaggerated sound effects and commentary.

Non-Diegetic Sound is crucial for setting the mood and creating an atmosphere.

Example: Lord of the Rings: The Fellowship of the Ring (2001) Prologue: …One Ring to rule them All.

In this scene we have both types of Diegetic Sound: as you have Galadriel’s commentary, (Non Diegetic) and the score swells over the top of it, in addition to the sounds of arrows flying and swords clashing. (Diegetic Sound)

Empathetic Sound:

Empathetic Sound is Sound within a certain scene which reflects the overall mood of the scene. Overly Non-Diegetic in nature, but can be both, this could be represented by a sad song or overture being played as a character is dying, or a happy song such as in a wedding scene.

Example: Lord of the Rings: The Return of the King (2003) Faramirs sacrifice.

In this scene Denathor asks Pippin to sing a song while we know from earlier in the film that he doesn’t agree Denathor sending his son Faramir on a suicide mission to retake Osgiliath, Denathor is blinded by grief as he has lost his favoured son Boromir, and in order to try and earn his father’s love, Faramir decides to go anyway.

This is a very powerful scene as the sounds in the scene are limited to the song, and some occasional over emphasised Foley. These consist of the chicken bones cracking to represent the impending doom of Faramir and his men, and the arrows being pulled back in the orcs bows which when they fire cut back to Denathor and Pippin, leaving us not knowing how the attack went.

Anempathetic Sound:

In Contrast to Empathetic Sound, empathetic is sound which seems indifferent to the current mood of the scene, and at some points can be jarring or a juxtaposition.

Again overly Non-Diegetic in nature, this could be seen as a way of a director trying to reflect a particular event within the story which happens when other characters are un-aware, letting us in on a plot point which the main characters might be privy to.

Example: Psycho: (1960) Shower Scene:

Even though we have just seen Marion Crane brutally butchered by the killer, the shower is still running and acts a foreboding message later on, as they don’t find out who the murderer is till the end of the film.

Hopefully this helps when you decide to add sound to moving image 🙂

Fli.

Sound and Moving Image: Choosing Audio for to Video.

This assignment required me to use Cubase to score the video clip below, and produce non-musical sonic elements to accompany visual components and narrative. Sonic elements may include atmospheres, spot effects, visual punctuation and other diegetic sound, while showing an example of both foley and sound design.

 

The Film Clip with my score is shown below:

 

 

 

Project Set-Up:

 

First of all we had to set up Cubase so that it would be easier to work with video editing, so after I had created a new project, The first thing I did was add the “Jog and Scrub” wheel to my transport panel, this can be done by right clicking on it and selecting “Jog and Scrub” from the drop down menu.

 

The Jog and Scrub wheel consists of 3 parts, the innermost section has two symbols a + and  -, these allow you to more forward 1 frame at a time to get precise timing when it comes to clips. The middle section of the wheel or “Jog wheel” when dragged round with the mouse allows you to spool your way through the footage, while the outermost wheel will fast forward (clock wise) or re-wind (counter clockwise) the further the dial is panned to each side.

 

 

I also changed the two timer bars on the transport panel, setting one to bars and beats, while the other I set as time, so I could keep track of the position of the film, and where it falls during a bar. This can be done by clicking within the two areas on the transport panel and re-arranging it. I loaded up as well a Time Display and Video viewer so I had the visual cues and a larger clock to see the frame it was set to add markers. This can be loaded up from the Devices menu drop down menu, while the video player can be loaded up by double clicking on any imported audio.

 

Once I had set this up, I imported the video into the session, this involved saving the file within the project folder, so It would be easier to find if I couldn’t remember its location on the drive. To import a video clip into Cubase you go File > Import > Video File. However sometimes your frame rate of the song isn’t the same as the project, this can be simply changed by selecting Project > Project Set-Up < then selecting the appropriate frame rate from the drop down list.

 

I then loaded up the Video Player so I could the video playing as I was working on it, this can be done from Devices > Video Player. I also added both a marker track and a ruler track. Both can be selected from the insert track selection, and each fulfil a different purpose:

 

The Ruler track when set to time code allows me to see how far the video has progressed, while the marker track allows me to add marker or sync points for the insertion of audio.

 

Adding Markers:

 

I then proceeded to add markers to various points in the video to keep track of changes within the film so I add audio later. To insert a marker play the clip to the desired point, Click on the add marker button within the marker track.

 

Creating Sounds:

 

Now I had a list of points in the video where I could add audio, as mentioned before, I could us sounds I recorded myself or made, and existing audio, so I decided to make all of these sounds in Pro Tools.

 

The first one I created was for the electronic sounds when the Tetris like shapes flash over the screen. This was created by using a signal generator to generate some white noise on an auxiliary input. This was then bused into a stereo audio track, allowing me to record the signal being produced.

Busing Signal Generator

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I then automated the volume to cut in and out every other bar with the grid set to 1/32ths, giving me a tremolo effect which I then bolstered by a Distortion plug in to make it sound more harsh. Finally I added a 7 band EQ and added the Low pass frequency control to the automation list, so I could get it to sweep in and out for the duration of the clip. It was then a case of importing it into Cubase, and then placing it at the correct marker in the project, though I used the time stretch feature on Cubase to change how fast the sound is played, so I sped it up by double and put two together for the last set of shapes towards.

Volume Automation

Low Pass Automation

 

 

 

 

 

 

Next I made a synth pad to be used throughout the clip to provide ambiance, this was created by using the same signal generator as before recording into a audio track, but instead of using white noise, I used a square wave at 440Hz, which is roughly the frequency of an A note on a piano. After this I recorded it into another channel but changed the frequency to about 510Hz, I chose this number because it was only slightly higher than the previous frequency, but not close enough to another note.

Synth Pad

 

Because of this when played together both waveforms would be slightly out of phase, causing a chorus like effect. I then grouped them into an auxiliary input, and automated the volume so it would have a slow attack and release, as well as adding a reverb plug in to increase the resonance of the frequencies. Again I imported it into Cubase and placed it in the appropriate locations.

 

Another sound I created was the beeps, during the scene where the man is sitting at his desk, this was made using the signal generator playing a square wave at 500Hz, which I then made the beeps but automating the volume. Once imported into Cubase, I then just placed them within the correct markers.

Reverb

 

Attack and Release

 

 

 

 

 

Finally I produced some un edited white noise for the static on the TV at the end, which was just recorded in the same way as mentioned above,  and placed at the appropriate marker.

 

I also tried experimenting trying to create some industrial sounding piston sounds using a combination of both white and pink noise (each octave has the same amount of noise power, with each one being reduced or increased by +/-3dB.) I was automating the pink noise over the white noise, which was constant, playing the pink in short bursts. However when imported into Cubase, it made it sound like there was too many sounds going on, especially since I was trying to show other sounds in the areas I added it to.

 

Other Sounds:

 

I also used a selection of existing material in my video, the first of which is a clip of a film projector, where I thought it would fit the slide show feel of the opening credits. This came from the website www.FreeSFX.co.uk, which in their terms and conditions I could use it for personal use, or non financial benefit.

 

I used the sound of a Dial up modem during the later scenes in the video, this was ripped off a YouTube video, I found out later that the free program Audacity has a preset which also replicates this sound. I used it to make it sound like the computer in the office was really old and then crashes because of it. Video link below.

 

 

The sound of the digital camera zoom was taken from the website www.salamisound.com, which also said in its terms and conditions that it could be used for personal use/non financial gain. Imported it into Pro Tools to cut it down since it had other parts which were not relevant to sound I want it to achieve. I used it to give the impression on the zoom outs it was a CCTV/Security camera recording.

 

IMG_0738[1]-1

I also recorded some Foley style sound effects on a Zoom Handicam H2 Recorder, these included the sound of Footsteps and a Door opening. For the Footsteps, I had to walk down a set off metal stairs while watching the footage to get them in sync, while the door I found and recorded it shutting. The Door sound I didnt need to edit, and it was placed directly into Cubase at a fade in, the footsteps however needed a Low Pass filter to get rid of some background noise, as well as the  sound then being Normalized to bring up the volume.

IMG_0737[1]

 

 

 

 

Doing this assessment gave me an idea of the sort of routine a sound designer has to get into during post-production of a film, giving me a whole new insight into the process.

 

Fli.