Now that we have come to the end of this module and i have presented the mini projects, online portfolio and what skills i have developed throughout it it is important to summarise what areas of sound recording and dubbing i still need to research, and what practical skills required of a professional sound recordist, dubbing artist i still need to develop.
First of all what is clear, is that i still need to build up a portfolio of projects with a range of recording and dubbing demands that i have worked as a sound specialist on. Second of all i need to continue expanding my database of sound equipment and how they operate outside of just the equipment we have available to us at Uwe. Something i didnt explore but from other students presentations in my field recognised is a key area to explore and experiment with is how differing use of sound design can create different moods within the same film clip. Also although the old saying its not what you use its how you use it is very true, i could also still do with familiarising myself with other Digital Audio Workstations than Apples Logic Pro 9 which i personally feel the most comfortable and in tune with, however there may be situations in the future where a client or employer requires me to use Pro Tools or Cubase.
- To expand my technical understanding of professional practice for sound production for Film and Television.
- To be able to record and edit crisp, clear dynamic sound for use in our third year productions to make myself a commodity; a go to guy for sound recording and engineering.
Shredder original sample
My biggest learning point with this module has been the continuing series of experiments borrowing sound equipment i have not previously had access to and the range of scenarios, locations and types of sound that I have recorded whilst completing my two mini projects and the accompanying experiments.
I feel that in combination with my contextual research and workshops that i have attended i have a competent understanding of how to record high quality audio in almost every situation possible, that i know what equipment and specific placement, operation etc is best for each scenario. For example one of the areas i know is extremely difficult to get right and vary often troublesome is shooting on location externally as there are so many variables and sources of interference the most common of which is wind, traffic, and crowds I feel that I have learnt to minimise these issues.
From this module i would like to take my now developed sound recording and engineering skills and be able to apply them to myself or a range of other students projects, and make sure their project has the best possible sound design it can have, people will often forgive bad filming but bad sound design immediately turns an audience off a film.
I would like to be able to demonstrate my previous statement that i feel comfortable and competent recording high quality audio in a range of challenging locations/scenarios and be the go to guy people think of when looking for a professional high quality sound recordist and sound designer.
Got the pro mic kit out to get the blimp/softie wind enclosure. After yesterday i realised one of the major considerations when shooting on location outside is dealing with wind, most mics come with a basic windsock but on average these are only able to tolerate upto 8mph winds which is nothing.
However i noticed in the pro mic kit there is the Sennheisser 416 microphone i did a bit of reading up on this and found out it was the general professional standard for news reporting and location boom micing in the late 90s and early 2000s. With this in mind i decided that i will definatly be using it tonight to record some of the antics that go on late at night in Bristols city centre.
Hours before heading out for half an hour to record the city centre at night i decided to test it internally in my flat and just happened to test it from my bed pointed at the tv, the sound i got triggered my recollection and imagination of creating atmosphere before dialogue in a internal scene, i can imagine a scene that starts on a close up of a tv and tracks to a person alone miserable or family cosied up on the sofa depending on the situation.
For Failure day i headed out with Naby, Tara and Marissa with no idea where we going, what we meant to be filming and no idea what i was being asked to do. In the end it turned out we were going to the rooftop of the car park near Colston Hall. To reshoot a suicide scene from a film that Naby wanted to Homage. My role was to capture the sound relevant to the scene. Unfortunately it was just far too windy, i could hear the wind without headphones on, and a softie/blimp windshield hadn’t been booked out so there was no way to minimise it, the majority of audio was unusable. However there were a few decent segments of sound when the wind dropped periodically. But i got a good experience watching and helping Naby set up shots and change lenses with the Panasonic 101 and lens kit.
Analysis of sound design in Jurassic Park – T Rex scene
I have chosen to analyse the sound design of the first T-Rex scene from the first Jurassic Park primarily because the technical quality of the sound design in it mirrors my personal goals with this project, every sound in it is clear, crisp and deeply impacting. But also because I think it is a really interesting example of how often attention to detail and a less is more, keep it simple stupid approach can be extremely effective at creating the directed mood of a scene. As well as the fact that there are so many complex and unique sounds, from raw aggressive primal predatory animals, whimpering prey, electrical hiss, realistic panicking dialogue to extremely nuanced sounds such as the sound of the ripple in the cup of water.
From my research its also a really good example of how important post production sound design is, because the Dinosaurs in the film are fictional an illusion of what the might sound like must be created from existing sound sources.
In this scene the intended mood is at first pure suspense but with onscreen unawareness from the cast of the incredibly terrifying event that we the audience know is about to happen from the previous scenes subtext and the constantly building tension that comes to its climax when the T-Rex emerges and is replaced with sheer carnage and panic.
The beginning of the scene is a testament to the power of the statement “it’s quiet, too quiet”. The Calm before the terrible storm.
Let me begin by analyzing the location sound and removal of musical score. The scene starts with the Diagetic exaggerated pitter-patter of rain and booming thunder which reinforces attention to the extreme weather of the location and is obvious pathetic fallacy for the extremely dangerous event that is about to happen. But when the T-Rex appears and all hell breaks loose it also feels like a constant backdrop and contrast to the carnage of the car being flung, the screams of the children and the raw power, predatory aggression of the T-Rex that makes the scene feel all the more real and like its actually happening to the viewer. This intention is also why a soundtrack has been left out and there is no Un-diegetic musical score. The lack of music makes the scene feel less like a film, highlights the diegetic on screen sounds of the situation and puts the viewer in the scenario, which further allows the sheer terror to hit home.
With any film the viewer relates to the protagonists of the film and we the viewers are introduced, informed that the T-Rex is coming before the on screen characters are aware, through the use of off screen non-diegetic sound of the T-Rexs footsteps the stillness and bleating of the goat that is in sheer panic and knows that its about to be eaten as well as the exaggerated diegetic sound of the creaking of the electricity lines that tells us the viewer that they have no protection now and the T-Rex can leave its enclosure and attack them whenever it likes. This builds tension and makes us fear for the characters all the more as we know that they are going to be caught off guard and unprepared.
Post-synchronization is the process of adding sound to images after they have been shot and edited into their final offline copy. This can include dubbing of voices, as well as inserting diegetic music or sound effects. It is the opposite of direct sound. The sense of a sound’s position in space, yielded by volume, timbre, pitch, and, in stereophonic reproduction systems, binaural information is created rather than observed, this is why a great sound designer is worth so much, that there judgment and technical skill is good enough to create a realistic sound world from essentially scratch. Used to create a more realistic sense of space, with events happening closer or further away.
The sonic properties of a sound, its timbre, volume, reverb, frequency presence, etc all.have a major effect on a film’s aesthetic. A film can register the space in which a sound is produced or it can be otherwise manipulated for dramatic purposes.
Again. Just read through the brief and realised it says edited versions of everything above the Online Portfolio and Creative Commons section should be on your blog. So heres my positioning statement.
Tomas Collier Qureshy is a Freelance Creative Professional originally from the heart of the Westcountry. But now living in Bristol the Media hub of the South West. To specialise in Post-Production and Sound Recording.I am currently in my second year at the University of the West of England, studying Filmmaking and Creative Media.
I am an eclectic and inquisitive individual who likes to explore all areas of Filmmaking. In the future I believe that I will be just as happy to take the lead and direct a Independent Film as I would be Editing Daytime Television. To put it simply my goal is to release my creative energy and contribute to any production to the fullest extent of my abilities. Whether that be as a Director of Photography, Sound Recordist, Editor or Runner. All I want is to be involved with something that entertains or educates people.