Now all the location shoots are complete, i am beginning post production for ‘April’. I have collected research together which will help me in the post production stages of recording. This includes, research of foley recording, ADR, music and atmosphere for film productions. An important area i am researching, is how to sustain the emotion in the music for the audience on film productions. Due to ‘April’ being a romance film, emotion plays a big part to interact with the audience and explain the narrative of the film. Throughout the film their are certain scenes with voice overs. These voice overs are used to help explain the films narrative and explain the thoughts of Issac during the film. I have discussed with the film director on the idea behind the sound design for the voice overs. After chatting with the director, the agreement was made that whilst these voice overs are being played, soft, emotional music is needed outline the emotion to the audience. An example of this is the closing scene in Two Days in Paris.
http://www.youtube.com/watch?v=DD9XP0Ane8U – In this clip, the two actors are talking which leads into a voice over. These voice overs are similar to those of which are in April. The idea which is used is to emphasize the videos being watched. The voice over means the audience can interact with the character speaking with first hand thoughts of the characters thoughts. This is a reference point which I will use to test music over the voice overs in ‘April’.
Music adds to the emotional quality of the film. There is some empirical evidence to support this: fast and loud music arouses, slow and soft music calms. Motion and emotion are often entwined (Meyer, 1956).
http://www.e-filmmusic.de/emotion_film_scores/background.html – This blog has some interesting and important information in choosing film music and how sustain emotion when producing film music.
Due to some of our scenes having lively atmospheres, the level of quality in which the audio was recorded was limited. This means in the post production stages of April, ADR will be needed to either patch up scenes, or redo the complete dialogue for an actor in a scene.
http://www.youtube.com/watch?v=f2HKN1N2SZQ – This tutorial was helpful in understanding the complete process for ADR recording, what can go wrong and where is should be correctly used. The actors used in our film have never been part of an ADR recording before. This means more time will have to be allocated to record the ADR to make sure the correct dialogue is recorded exactly the same as filmed in the picture.
I am confident with producing foley for ‘April’. I have had more experience producing foley than any other of the sound for film production process. http://www.musicofsound.co.nz/blog/the-role-of-sound-effects-in-film – On this webpage there is some interesting information into the importance of SFX and foley on films. This will help me in understanding what will be best for the film, ‘April’. To further my research into foley recording i will be reading a chapter from (Practical Art of Motion Picture Sound – David Yewdall – 2012). This chapter is Ch.17 – Foley: The Art of Footsteps, Props, and Cloth Movement.
