The majority of the sound in regards to the first scene of our film, Screen Three, was recorded whilst we filmed. Recorded externally, I synced up the audio with the footage on Final Cut Pro’s timeline and worked to create the desired sound perspective and quality for the dialogue however, some sounds needed to be added in post production.
I wanted the “Youths” to be as aggravating as possible. They’re intended to irritate the film’s protagonist and also, the audience and so, in order to emphasise this idea, I recorded myself munching on popcorn and added it in when the footage needed it. When Gareth’s character bites into the snack for the first time in the scene we hear a loud crunch which arguably suggests his ignorance in his quiet, hushed enviroment and quickly gives the audience a first glimpse into his personality, especially when paired with the bashfully delivered dialogue.
The BFI Film Academy course I’m undertaking offers filmmakers, like myself, the chance to meet industry professionals to help us improve our talents. Recently I was lucky enough to meet Grant Bridgeman; a sound recordist who has worked on productions such as ITV’s television series, Mr Selfridge. He went through the do’s and don’ts of recording sound and made a short video clip highlighting errors inexperienced recordists like myself might make. This included distortion, interference with elements such as traffic and an insight into sound perspective. Sound perspective concerns a sound’s position in space as perceived by the viewer given by volume, timbre, and pitch. Getting it right is vital in creating the right effect. For example, if a wide shot makes an actor appear as small as an ant, having the dialogue he’s delivering seem close to the viewer and loud is very distracting and unnatural.
His job concerns“the art of capturing sound without comprising the image”.
Despite the lack of light, warmth or energy to much of anything, my father and I visited when he keeps his vehicles to record additional sound. With the Zoom H1 digital recorder and a pair of my UrBeats headphones, we recorded a range of actions such as the car starting up, lurching forward, braking to a halt and finally the engine simply running whilst the car’s stationary. Thanks to my headphones I could check for any interference while I was recorded and so I ended up with great quality sound that went straight in my film. I also recorded the pushchair falling over and a female scream to add to the intensity of the finale.
If you look below you can see an area of my timeline during post-production on Final Cut Pro. Each file is explained on the left of the image.