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February, 2013

  1. Helpful Research, Preparing for the Location Shoot

    February 28, 2013 by Andrew Kettle

    I have found a useful part of research into recording location sound ie. the do’s and don’ts to get the best sound out of a location shoot. After doing some test recordings last week and reading this research, I understood that many of the common issues that arose during our test recordings are mentioned in this research, plus there are some extra tips which i would like to test when doing some more test recordings later on this week.

    As well as finding this item of research, I have began reading specific chapters from the book –  (Practical Art of Motion Picture Sound – David Yewdall – 2012)

    I am finding this book very helpful in broadening my understanding of recording film sound and which techniques to use to get the best audio from a recording session.

    The chapters i am focusing on are;

    Ch.1 – The Empowerment of Sound

    Ch.5 – The Challenging Battlefield of Production

    Ch.9 – Spotting the Picture for Sound & Music

    Ch.17 – Foley: The Art of Footsteps, Props, and Cloth Movement

    I have emailed Grant Bridgeman this morning to arrange a meetup to discuss tips in recording film sound. If this meeting is possible we will draw a lot of knowledge from Grant which will reflect in our own recordings for the film ‘April’. I will hopefully hear back from Grant sometime this week which will confirm the date for the meeting.

  2. My Role

    February 20, 2013 by Andrew Kettle

    The roles i have chosen for my Semester B project are the projects, Sound Recordist, Sound Editor & Mixer, Foley & ADR Mixer, Mastering Editor. These roles were chosen for me because of the skills i have in these areas. As well as this, these were chosen for me because i am confident in fulfilling the role and using it to the most of my potential. My roles relate to both the production sound and the post production sound.

    Sound Recordist – A sound recordist is a member of the film crew who is responsible for capturing high quality audio on a location recording. Most sound recordists are freelance and work in the production stages of the film production. A sound recordist work closely with the Director, Boom Operator and the Sound Editor. I believe my skills of working well in a group as well as working independently will highly benefit me in carrying out this role efficiently.

    Sound Editor & Mixer – A sound editor is someone who arranges and audio ready for the final mix and master. Sound editors work in many media industries such as, film, tv, radio etc. Due to my background of audio recording being multitrack. I have a good knowledge in arranging audio as well as mixing and mastering audio. This will benefit me in perusing this role.

    Foley & ADR Mixer – A foley & ADR mixer are similar to a sound editors roles however, their main focus is simply mixing the adr and foley sounds. This can be a tough role to manage because each sound has to fit with the realism of the film and be very subtle in mix. ADR is a tough role to meet because it can be very time consuming. Due to the work experience i am undergoing producing sound for a film production. This will help me in completing this role and i can reflect the skills i have learnt onto my semester b project.

    Mastering Editor – A mastering engineer is someone who takes the final mix of audio and manipulates it to be ready for distribution. The mastering editor has the final say on the music before it is released. This role is very important as if it id done incorrectly. It can effect the whole audio track and affect what the audience can hear.

  3. Test Recordings

    February 18, 2013 by Andrew Kettle

    Dialogue Recording 1

    Today we did some test recordings, these included recording various atmospheres and dialogue tracks. These test recordings have helped me understand which mic placements work better for each style of recording and which mic patterns are best to use.

    I used a Marantz Solid State Recorder, Rode NT2, AKG C3000 Microphones & Boom poles for the recordings

    When recording people dialogue i noticed the further away the mic was from the person who was speaking, the level of natural reverb and boxiness on the recording increased a lot. To work out the best position for the microphone I gradually lowered the mic to obtain the best mic position to reduce these problems. This is heard in the recordings.

    When recording atmospheres on location i noticed that every little knock, whether this be knocking the xlr cable or slightly knocking the boom pole was picked up by the microphone. This caused the level on the Marantz to peak which in turn ruined the audio recording. To resolve this we held the boom stand carefully and made sure there was enough headroom on the input level to account for increases in volume. I used an omni directional polar pattern for the atmosphere sounds so i could pick up all the sound around me all at once. The selection of location recordings were chosen due to certain atmospheres that are needed for selected scenes in the film.

    Dialogue recording 2

    Test Recordings –

    Building Site Location

    Room Atompshere Multitrack

    Roadside Atmosphere

    Outdoor Low to High Boom

    Indoor Low to High Boom

  4. Complete Film Synopsis (‘April’) & Final Script

    February 13, 2013 by Andrew Kettle

    The script is now complete for ‘April’ which means i can begin spotting it with audio ideas. From reading the script and speaking with the director,  i have a good understanding of the emotion and setting in each scene. This means i can begin gathering sounds together for recording ideas. The breakdown for the script is also complete.

    Link – Final Script

    Link – Script Breakdowns

  5. Film to Reference To

    February 8, 2013 by Andrew Kettle

    Romance Films With Similar Sound Design

    When anybody thinks of the sound to a romance film, they immediately think of slow, soft piano with very subtle dynamics. Below is an example or works which are similar to ‘April’, the film I am producing in Audio Project 2 Semester B.


    Amélie (2001)

    Amélie is about an innocent and naive girl in Paris, she decides to help those around her and along the way but whilst doing so discovers love.

    Being one of most notorious romance films of the previous decade, it is renowned for its very well composed and colourful cinematics and moving soundtrack. An example of sound design which is similar to what we are aiming for when producing april is at 43min 7 sec in this link. The use of soft, subtle piano notes create the emotional feel towards a romance film without seeing the visuals to give you this interpretation.


    500 Days of Summer (2009)

    This film is an example of a romance film which goes for a fairly natural and with much modernised sound compared to standard romance films. I chose to give this film as an example for the reason that I think the style of music is an option for how the sound and music in ‘April’ could be used. I do believe this film has a different element of sound design than typical romance film sountrack.


    Two Days in Paris (2007)

    Two Days in Paris

    The use of sound in this film is very similar to how we aim to use sound in ‘April’. The use of voice overs and the feel of the couples disagreements relates not only to the sound aims for ‘April’, but also the narrative behind the film. This film will be a good reference point when producing the final soundtrack for ‘April’.

    This link has an idea which stated above.