I recently did the sound design for TwossCompany's "Nepenthe"- I'll post a link to the film shortly.
The film was mixed on Logic Pro X, using a range of stock sounds and Foley.
This film uses these sounds from freesound:
Pencil Sharpener by jc144940 (https://www.freesound.org/people/jc144940/sounds/180945/)
Glass by UncleSigmund (https://www.freesound.org/people/UncleSigmund/sounds/42387/)
Cordless phone ring by cbakos (https://www.freesound.org/people/cbakos/sounds/50646/)
Sword sound-03 by JKrint1 (https://www.freesound.org/people/JKrint1/sounds/53439/)
coke snort 002 by uwesoundboiz (https://www.freesound.org/people/uwesoundboiz/sounds/60383/)
toilet flush by jrssandoval (https://www.freesound.org/people/jrssandoval/sounds/67170/)
City_Alley by amszala (https://www.freesound.org/people/amszala/sounds/85240/)
Metal rattle at different speeds by Timbre (https://www.freesound.org/people/Timbre/sounds/93060/)
Heart Beat by thenudo (https://www.freesound.org/people/thenudo/sounds/146765/)
Stutter by chr_garciabello (https://www.freesound.org/people/chr_garciabello/sounds/162117/)
doorbell by Corsica_S (https://www.freesound.org/people/Corsica_S/sounds/163730/)
Phone Vibrate by Cabeeno Rossley (https://www.freesound.org/people/Cabeeno%20Rossley/sounds/175039/)
underwater by yosarrian (https://www.freesound.org/people/yosarrian/sounds/179927/)
crazy laugh echo by Jasonthedemon (https://www.freesound.org/people/Jasonthedemon/sounds/187736/)
Flying Mosquito by Zywx (https://www.freesound.org/people/Zywx/sounds/188708/)
campfire in the woods front by craftport (https://www.freesound.org/people/craftport/sounds/213803/)
A Murder of Crows by Frankie01234 (https://www.freesound.org/people/Frankie01234/sounds/214869/)
Forrest field spring sounds by looijenga (https://www.freesound.org/people/looijenga/sounds/234306/)
Tension 2 by Cman634 (https://www.freesound.org/people/Cman634/sounds/235352/)
Barking Dog 1 by Charel Sytze (http://www.freesound.org/people/Charel%20Sytze/sounds/35628/)
Besides using the stock sounds listed above, I also recorded a range of Foley sounds for the film and even recycled certain sounds (such as whip sounds and twigs) from my latest film, "The Bird Nerd". The foley was recorded predominantly using a Rode NT-1A onto a Zoom H4n. I also used production sound recorded on location by Danny Collins and Music by Joe Walton, who also worked on "The Bird Nerd".
The mix involved removing a great deal of background noise, in particular the sounds of crew members talking when the lead character is picking mushrooms (solved using wild tracks from location in sync with the action) and when he clears objects off his bed and chest of drawers (solved with Foley). Thankfully I did not need to do any ADR as the film does not contain any dialogue or speech. Other tasks involved placing Foley and stock sound effects over clips which contained no audio at all; creating the illusion of a hot, desert-like atmoshpere through various layers of sound for the first and last scenes; and continuing the sound of the toilet flush during the visual crossfade into the next scene (the original sound cut off abruptly when the crossfade began).
To create a hot atmosphere for the first scene, I used four key layers of sound; the production sound (with a high pass filter to remove heavy wind noise and give a drier feel); the music provided by Joe Walton; a stock sound of a mosquito flying (which I panned between left and right speakers using automation); a high-pitched sine-wave sound, which was actually a stock sound of the rim of a wine glass being rubbed (which gave a more irregular feel, like the sound was dipping in and out- I then exaggerated this with volume automation).
In the main sequence in which the lead character is on drugs, I wanted to create an over-whelming, intense (but weird) soundscape. I combined a range of drone-like stock sounds together with a stutter sound and some underwater bubble sounds. This along with a sound of a heavy heart beat, an echoed, flange-like crazy laugh in stereo and several filter sweep build ups created the atmosphere I wanted.
To master, I compressed all the sound at roughly -12dB with a 1:1.5 ratio and hard limited the sound at -1dB. I also did a slight EQ on the whole thing to colour some of the high-mids and adjusted some of the volumes manually on certain scenes to give a relatively consistent level (which is difficult in a film with such a varied tone and no dialogue!). I used Audacity for this as I needed software which would do the job quickly and effectively for me, without the need to go back into the studio. I was able to master at home fairly quickly (my usual home software, Adobe Audition has been glitching a lot lately, hence why I couldn't use that... I'm switching over to Pro Tools soon).
Tuesday 23 December 2014
Friday 6 June 2014
"The Bird Nerd"
So we're now about to enter official pre-production for my latest short film, "The Bird Nerd"! Here's a brief synopsis of it:
We all have a competitor at something we love, whether that be sports, video game leader boards or, for some, bird watching.
Alan Argus has the dream of being the local bird watching legend, however: the cunning Bernie Samson currently sits at the throne. He's won Bird watcher of the month award eleven times in a row, and won't stop bragging that he's about to make it to twelve. And this weekend turns out to be primetime for bird watchers; Coco Cola's parrot mascot Coco, from the adverts on TV, has escaped and is on the loose. Determined now not to miss this opportunity, Alan packs his camera, binoculars and some warm clothes as he camps out all night, waiting for Coco.
The Bird Nerd shows that no matter what you're passionate about, and whatever gets in your way there's always light at the end of the tunnel.
After just two days of being on kickstarter, we've already managed to successfully raise funds over our target of £400- and it's still going! Thanks to everyone who's kindly donated to us so far, we're now able to make this film! Any more funds will go toward higher production values, including the hiring of better technical equipment, actors, costumes, locations, props etc.
At the moment I'm waiting for the 4th draft of the screenplay to come through, which will hopefully be really fantastic- I've already seen three and they're really funny!
If you could possibly back us by £1 (yes, even just that!), it would be greatly appreciated!
https://www.kickstarter.com/projects/663368884/the-bird-nerd
We all have a competitor at something we love, whether that be sports, video game leader boards or, for some, bird watching.
Alan Argus has the dream of being the local bird watching legend, however: the cunning Bernie Samson currently sits at the throne. He's won Bird watcher of the month award eleven times in a row, and won't stop bragging that he's about to make it to twelve. And this weekend turns out to be primetime for bird watchers; Coco Cola's parrot mascot Coco, from the adverts on TV, has escaped and is on the loose. Determined now not to miss this opportunity, Alan packs his camera, binoculars and some warm clothes as he camps out all night, waiting for Coco.
The Bird Nerd shows that no matter what you're passionate about, and whatever gets in your way there's always light at the end of the tunnel.
After just two days of being on kickstarter, we've already managed to successfully raise funds over our target of £400- and it's still going! Thanks to everyone who's kindly donated to us so far, we're now able to make this film! Any more funds will go toward higher production values, including the hiring of better technical equipment, actors, costumes, locations, props etc.
At the moment I'm waiting for the 4th draft of the screenplay to come through, which will hopefully be really fantastic- I've already seen three and they're really funny!
If you could possibly back us by £1 (yes, even just that!), it would be greatly appreciated!
https://www.kickstarter.com/projects/663368884/the-bird-nerd
Wednesday 16 April 2014
NFTS Residential- Day 11
An amazing last day!
Today we reviewed the final cuts for our films in the NFTS Cinema, which are looking great! With the final sound mix, ours should come out really well. Afterwards, we got to talk more to our sound designer, Luke, who's job is to mix and edit the sound in our film ready for its screening at the BFI IMAX, London, tomorrow.
We also had talks from Yen Yau (from Into Film) and alumni students from 2013's BFI Academy on networking and skills for a more successful future, as well as taking a look at other films the alumni students had been working on over the last year.
In the afternoon, we went to Ealing Studios (where they're currently filming Downton Abbey) to visit the Imaginarium Studio, Andy Circus' motion-capture facility, where the motion capture for a lot of films, games and even some TV programmes is done. The room has dozens of infra-red cameras lining the walls, which are able to 'see' the white balls on the motion-capture suits worn by actors. The data is then sent to various computers, which track the points on the suits and transfer them over to a CGI character. If facial expressions are needed as well, a small camera (that looks like a GoPro) is attached to a rig in front of the actor's face, which films smaller, coloured dots on the person's face.
While we were there, two actors wearing motion-capture suits acted out a short sketch based on "Poiro". This was rendered in real-time on a screen in front of us and we were able to see the CGI environment and charcters alongside the actors.
Another feature they had was a handheld device designed to act as a camera. It was tracked by the infra-red cameras and used as the camera for the CGI scene.
At the end of the day, we recieved our references from our lead tutors and were asked to write a general review on our experience in order for the BFI to improve it for next year and to help Pete Fraser to write his references for us.
In the evening, we skyped Nathan Johnson, composer for films such as Brick, Looper and Don Jon. He was talking about how he went about writing the music for films like Brick and Looper. The music for brick was done in his flat with a single microphone and his MacBook, recording instruments separately and creatively- for example, he attached various nails, keys and skrews to the strings of a piano to give it a more gritty, grinding sound. For Looper, the rhythms were largely based on the sounds of everyday objects being used percussively and recorded- for example, one of the things he did was drop several TVs from the roof of a warehouse. The sounds would then be manipulated on a computer and transferred to a MIDI keyboard to give Nathan full control of the sounds.
Finally, we ended the day with presentations in our production groups on what we had learned and enjoyed during the last two weeks. A lot of these presentations included mantages of photos and videos taken during the course. At the end, the Irish girls did the "Irish BAFTAs", a kind of 'spoof awards'!
It's been an amazing last two weeks! Can't wait for tomorrow, when all our finished films will be shown at the BFI IMAX in London!
Today we reviewed the final cuts for our films in the NFTS Cinema, which are looking great! With the final sound mix, ours should come out really well. Afterwards, we got to talk more to our sound designer, Luke, who's job is to mix and edit the sound in our film ready for its screening at the BFI IMAX, London, tomorrow.
We also had talks from Yen Yau (from Into Film) and alumni students from 2013's BFI Academy on networking and skills for a more successful future, as well as taking a look at other films the alumni students had been working on over the last year.
In the afternoon, we went to Ealing Studios (where they're currently filming Downton Abbey) to visit the Imaginarium Studio, Andy Circus' motion-capture facility, where the motion capture for a lot of films, games and even some TV programmes is done. The room has dozens of infra-red cameras lining the walls, which are able to 'see' the white balls on the motion-capture suits worn by actors. The data is then sent to various computers, which track the points on the suits and transfer them over to a CGI character. If facial expressions are needed as well, a small camera (that looks like a GoPro) is attached to a rig in front of the actor's face, which films smaller, coloured dots on the person's face.
While we were there, two actors wearing motion-capture suits acted out a short sketch based on "Poiro". This was rendered in real-time on a screen in front of us and we were able to see the CGI environment and charcters alongside the actors.
Another feature they had was a handheld device designed to act as a camera. It was tracked by the infra-red cameras and used as the camera for the CGI scene.
At the end of the day, we recieved our references from our lead tutors and were asked to write a general review on our experience in order for the BFI to improve it for next year and to help Pete Fraser to write his references for us.
In the evening, we skyped Nathan Johnson, composer for films such as Brick, Looper and Don Jon. He was talking about how he went about writing the music for films like Brick and Looper. The music for brick was done in his flat with a single microphone and his MacBook, recording instruments separately and creatively- for example, he attached various nails, keys and skrews to the strings of a piano to give it a more gritty, grinding sound. For Looper, the rhythms were largely based on the sounds of everyday objects being used percussively and recorded- for example, one of the things he did was drop several TVs from the roof of a warehouse. The sounds would then be manipulated on a computer and transferred to a MIDI keyboard to give Nathan full control of the sounds.
Finally, we ended the day with presentations in our production groups on what we had learned and enjoyed during the last two weeks. A lot of these presentations included mantages of photos and videos taken during the course. At the end, the Irish girls did the "Irish BAFTAs", a kind of 'spoof awards'!
It's been an amazing last two weeks! Can't wait for tomorrow, when all our finished films will be shown at the BFI IMAX in London!
Tuesday 15 April 2014
NFTS Residential- Day 10
It's nearly over! :(
Today we watched the rough cut of the films, and to be honest I was really stressed about my sound! However, we got to speak to a professional sound designer, who'll be doing the final mix for us about what we want and found some music etc, and I'm now more confident about it!
We also had a load of amazing masterclasses from top industry professionals. First was from Tim Webber, Oscar Award Winning Visual Effects Supervisor from Gravity (which apparently he was also the 1st AD on), Dark Knight, Children of Men etc and VFX Artist for Avatar, Harry Potter and the Goblet of Fire... the list is endless! He spoke a lot about how he achieved the amazing effects seen in films such as Gravity and Dark Knight- in particular "Two Face" from Dark Knight and pretty much everything in Gravity! It was really interesting listening to him speak about it, and he also gave advice on how to get in to VFX as a career today as well as his own story (which was based in art and physics).
After this, Actor and Comedian Lenny Henry decided to drop by at NFTS and also gave us a short talk on equality and diversity within films and the film industry, which was really interesting (and funny)! It was awesome! We weren't told who we were going to have a talk from when we were urgently called back into the cinema, so while we were waiting for him to talk, we were all saying things like "that's really funny, he looks like Lenny Henry"- at which point he stepped forward and said "My name's Lenny Henry"!
After this we received a joint masterclass from Pawl Fuker, pre-visualisation artist for films such as Skyfall, Harry Potter, Fast and Furious, Sherlock Holmes, World War Z etc alongside filmmaker Jake Wynn, who has done many big music videos for Robbie Williams, The Spice Girls etc! Both people were really interesting and started off from very similar backgrounds, both being taught media studies by Pete Fraser (the project leader of the BFI Film Academy) at the same college just a year apart!
Overall, this was an amazing day!!! Can't wait to see the final cuts of all the films tomorrow!
Today we watched the rough cut of the films, and to be honest I was really stressed about my sound! However, we got to speak to a professional sound designer, who'll be doing the final mix for us about what we want and found some music etc, and I'm now more confident about it!
We also had a load of amazing masterclasses from top industry professionals. First was from Tim Webber, Oscar Award Winning Visual Effects Supervisor from Gravity (which apparently he was also the 1st AD on), Dark Knight, Children of Men etc and VFX Artist for Avatar, Harry Potter and the Goblet of Fire... the list is endless! He spoke a lot about how he achieved the amazing effects seen in films such as Gravity and Dark Knight- in particular "Two Face" from Dark Knight and pretty much everything in Gravity! It was really interesting listening to him speak about it, and he also gave advice on how to get in to VFX as a career today as well as his own story (which was based in art and physics).
After this, Actor and Comedian Lenny Henry decided to drop by at NFTS and also gave us a short talk on equality and diversity within films and the film industry, which was really interesting (and funny)! It was awesome! We weren't told who we were going to have a talk from when we were urgently called back into the cinema, so while we were waiting for him to talk, we were all saying things like "that's really funny, he looks like Lenny Henry"- at which point he stepped forward and said "My name's Lenny Henry"!
After this we received a joint masterclass from Pawl Fuker, pre-visualisation artist for films such as Skyfall, Harry Potter, Fast and Furious, Sherlock Holmes, World War Z etc alongside filmmaker Jake Wynn, who has done many big music videos for Robbie Williams, The Spice Girls etc! Both people were really interesting and started off from very similar backgrounds, both being taught media studies by Pete Fraser (the project leader of the BFI Film Academy) at the same college just a year apart!
Overall, this was an amazing day!!! Can't wait to see the final cuts of all the films tomorrow!
Monday 14 April 2014
NFTS Residential- Day 9
Today we had three talks on "The Film Business" with various film producers, including one from Nik Powell, Principal of NFTS and (apparently) a co-founder of virgin records with Richard Branson. The talks were really interesting and I learned a lot about getting a short film off the ground in every aspect- including rights, finance and marketing.
After this, we worked on our marketing campaign for our films, preparing for our pitch to editors from 'Total Film' tomorrow! We also completed our film's poster, which will be displayed at the IMAX for its screening on Thursday!
Finally, we had a masterclass from Colin Vaines, producer of films such as 'Coriolanus' and 'Gangs of New York'!
During all of this, the editors began to put together a first cut of the film, which will be shown to all the other groups tomorrow morning. At the end of the day, we got to watch a screening of Noah (for free) in the NFTS cinema! Overall, it was a great day!
After this, we worked on our marketing campaign for our films, preparing for our pitch to editors from 'Total Film' tomorrow! We also completed our film's poster, which will be displayed at the IMAX for its screening on Thursday!
Finally, we had a masterclass from Colin Vaines, producer of films such as 'Coriolanus' and 'Gangs of New York'!
During all of this, the editors began to put together a first cut of the film, which will be shown to all the other groups tomorrow morning. At the end of the day, we got to watch a screening of Noah (for free) in the NFTS cinema! Overall, it was a great day!
Sunday 13 April 2014
NFTS Residential- Day 8
One of the most amazing days of my life!
Today was the 2nd and final day of shooting "French Cricket". We started off the day back on location, shooting the exterior shots of the house, including shots of the car pulling up in the driveway. To do this, we used two radio mics in addition to the boom, in order to catch Will's dialogue inside the car and his conversation with Jim more clearly. For one shot, we placed the camera inside the car and filmed the scene from this position. This meant taping the mic to the inside of the car out of shot, and having me curled up in the boot recording and mixing it (which was surprisingly good fun)!
After this, we spent the next few hours setting up the TV Studio at NFTS ready for the car journey scene. This was amazing! Brian Tufano acted as DP for this shoot, and also came up with ways to create the illusion of the car driving on a country road, as opposed to sitting still in a studio. The solution was to darken the room and hang black curtains around the walls, giving the impression that the scene was taking place at night. From there, our Gaffer (who worked on Star Wars) placed two smaller studio lights on a low T-Bar and had them swung from right to left (facing the car) every so often, giving the illusion of passing car headlamps. The effect of traffic lights was also created by placing red and orange gels on studio lights and shining them at the car. All the way through each take, the camera rig was gently rocked back and forth to add movement and a sense of realism to the shots. To light the actors in the car, small rectangular LED lights were taped to the inside of the car, pointing at the actors' faces, giving a subtle, natural light. Brian also came up with a way of giving the illusion of passing countryside; by taping large branches together, he was able to make a couple of 'bushes'. These were then attached to a dolly and rapidly wheeled across the back of certain shots at certain points. The effects combined looked very realistic!
To mic the actors, we placed a radio mic near each actor (we didn't use the boom until we recorded wild tracks of a car boot, a car door and a slamming door at the end of the day). I wrapped (after wild tracks) just before 7 in the evening.
It was a very long and tiring day, but definitely the most enjoyable and rewarding!
Today was the 2nd and final day of shooting "French Cricket". We started off the day back on location, shooting the exterior shots of the house, including shots of the car pulling up in the driveway. To do this, we used two radio mics in addition to the boom, in order to catch Will's dialogue inside the car and his conversation with Jim more clearly. For one shot, we placed the camera inside the car and filmed the scene from this position. This meant taping the mic to the inside of the car out of shot, and having me curled up in the boot recording and mixing it (which was surprisingly good fun)!
After this, we spent the next few hours setting up the TV Studio at NFTS ready for the car journey scene. This was amazing! Brian Tufano acted as DP for this shoot, and also came up with ways to create the illusion of the car driving on a country road, as opposed to sitting still in a studio. The solution was to darken the room and hang black curtains around the walls, giving the impression that the scene was taking place at night. From there, our Gaffer (who worked on Star Wars) placed two smaller studio lights on a low T-Bar and had them swung from right to left (facing the car) every so often, giving the illusion of passing car headlamps. The effect of traffic lights was also created by placing red and orange gels on studio lights and shining them at the car. All the way through each take, the camera rig was gently rocked back and forth to add movement and a sense of realism to the shots. To light the actors in the car, small rectangular LED lights were taped to the inside of the car, pointing at the actors' faces, giving a subtle, natural light. Brian also came up with a way of giving the illusion of passing countryside; by taping large branches together, he was able to make a couple of 'bushes'. These were then attached to a dolly and rapidly wheeled across the back of certain shots at certain points. The effects combined looked very realistic!
To mic the actors, we placed a radio mic near each actor (we didn't use the boom until we recorded wild tracks of a car boot, a car door and a slamming door at the end of the day). I wrapped (after wild tracks) just before 7 in the evening.
It was a very long and tiring day, but definitely the most enjoyable and rewarding!
Saturday 12 April 2014
NFTS Residential- Day 7
The best day so far!
Today we shot half of "French Cricket" on location in a house in Beaconsfield. We were shooting in a really cramped hallway, which meant trying to keep out of the way as much as possible when not shooting! I was on the boom for the majority of the day, although about 3/4 of the way through my arms gave in and I swapped jobs with the sound recordist for the remainder of the day, mixing the various input tracks and keeping records of how each take went from a sound point of view.
It was amazing getting to meet all the cast after all this time, as well as getting to meet our professional crew members, such as Aden, our 1st AD (who apparently wwas the 1st AD for the first series of "Horrible Histories", a popular kid's program!). I also got to talk to Brian Ward, our mentor in more detail about how he went from art and painting to doing a course at the NFTS, eventually resulting in him doing all the music videos for ACDC's album "Fly on the Wall", which were designed so that, when put together all create a short, half hour film.
Can't wait for tomorrow, when we'll be shooting the rest of the film (the car scene) in the TV Studio at NFTS, working with legendary cinematographer Brian Tufano (Trainspotting, Shallow Grave, Billy Elliot) and a Gaffer who worked on Star Wars!
Today we shot half of "French Cricket" on location in a house in Beaconsfield. We were shooting in a really cramped hallway, which meant trying to keep out of the way as much as possible when not shooting! I was on the boom for the majority of the day, although about 3/4 of the way through my arms gave in and I swapped jobs with the sound recordist for the remainder of the day, mixing the various input tracks and keeping records of how each take went from a sound point of view.
It was amazing getting to meet all the cast after all this time, as well as getting to meet our professional crew members, such as Aden, our 1st AD (who apparently wwas the 1st AD for the first series of "Horrible Histories", a popular kid's program!). I also got to talk to Brian Ward, our mentor in more detail about how he went from art and painting to doing a course at the NFTS, eventually resulting in him doing all the music videos for ACDC's album "Fly on the Wall", which were designed so that, when put together all create a short, half hour film.
Can't wait for tomorrow, when we'll be shooting the rest of the film (the car scene) in the TV Studio at NFTS, working with legendary cinematographer Brian Tufano (Trainspotting, Shallow Grave, Billy Elliot) and a Gaffer who worked on Star Wars!
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