Home is where the heart is!
- Paris Rose
- Jan 27, 2019
- 3 min read
To view the finished product outcome click here.
Brought in as a freelance Sound Designer into a small production company that specialises in sound design for film. I was given 4 weeks to create a complete sound design for a short video clip being responsible for FX, ADR and Foley.
Keeping a record of all key activities undertaken and updating blog on WIX page regularly with details.
Through careful planning and using colour coding in my gantt chart which corresponded with my activity log I was able to make reference to the progress and task development quickly and easily.
Using the marker system in pro-tools not only helped me to identify the sounds required and note their location it also helped me to produce a comprehensive asset list of all sounds I needed to source and record. This meant a faster and organised workflow which I realise would be beneficial when working in a larger team where people need to be able to identify, locate, access and share information swiftly and efficiently.
I researched and ordered a TASCAM DR 40 (a hand held portable recorder to record the sounds that I needed to record the sounds. With reference to the instruction manual I set the appropriate recording settings and gains. This was useful and easy to use for recording in areas that may prove time consuming with standard microphones and cables such as the flushing of the toilet or when I recorded a large upside down glass being plunged into a deep basin of water to replicate the alien landing in the water. It meant I could travel to gather the sounds creatively, quickly and efficiently.
To be able to replicate the type of acoustic spaces in the video clip I had to take note of the approximate size, shape and the contents of each area and then research and understand how sound waves travel in each of these typical environments.
I became aware and efficient in using the RT 60 equation to measure reverberation time.
https://www.nti-audio.com/en/applications/room-building-acoustics/reverberation-time-rt60 http://www.csgnetwork.com/acousticreverbdelaycalc.html
Throughout the process of this project I also became aware of the physical properties of sound in relation to the propagation of sound waves. How distance, humidity, temperature, atmosphere pressure, reflection, absorption, diffraction and refraction can all affect sound waves.
With reference to the absorption co efficiency chart in relation to the type of materials in the area with reference to absorption and diffusion and also the acoustic properties of the enclosed spaces. Once I understood how the sound waves react then I was able to use the dynamic and time based effects in the software to create a suitable reverb and delay effect in keeping with each scene to try and create a more realistic, smooth and immersive sound production.
http://www.acoustic.ua/st/web_absorption_data_eng.pdf https://www.acousticfields.com/early-reflections-vs-reverb-why-do-they-matter/
To create the vocal element I sourced, installed and used a voice morphing programme to change the recorded sound of my voice to create the alien voice and also for the control room voice.
I also researched microphone and microphone techniques learning about the construction, polar and frequency response patterns. This helped me to choose the best microphone for the vocal recording.
The production progress meeting with the company’s Head of Sound at the beginning of week 3 was a success as I was on schedule and had prepared on time the relevant information and details to demonstrate my approach and progress.
As part of this project I was to Research freelance sound design as a career path. This gave me a clear insight as to the qualifications, different roles and areas within that area of sound production. I was intrigued and pleased to learn more about the roles in theatre production sound design.
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