After months of hard work, the film is now complete. I believe that the sound design reflects all of the research that I have collated. I would say that it definitely has the dark ambience that I set out to create.
EDGEPLAY VIMEO LINK
Password - Donkey
Starring Clinton Curtis Hudson & Alex Kenney.
Produced by Gino Giuliani.
Cinematography by Shelton Sitima.
SFX by EstÃbaliz Mellado.
Edited by Michael Dalton.
Sound by Luke Hall.
Music by DJ Klamidia.
Written and directed by Beat Natale.
Thursday, 21 May 2015
Monday, 18 May 2015
Post Production Final Scene
The final scene is all about brutality, In terms of the sound design, we wanted this to be as dark and horrible as we could get it. This meant that we had to do a lot of foley for this section, for example the sound for the our female character I blew my own nose for the sound of it, this was so that we could make get the clearest sound possible for it, so it would make it easier for us in the edit. The sound of wrenching and being sick were also recorded sounds of me done in post.
The clip above shows the final scene, this is the scene that the film builds up to. This needed the strongest sound design, we needed to reflect the pain shown on screen in the sound design. This was also done with a very electronic score, the story of this scene is very much told through the sound.
The sound for the knife stabbing needed to have an effect on the audience, the foley we used for that was the sound of chicken being cut into, an apple being stabbed and an apple being sawed as well. I think combining all three of these sounds it definitely gets the sound that we wanted to produce.
The clip above shows the final scene, this is the scene that the film builds up to. This needed the strongest sound design, we needed to reflect the pain shown on screen in the sound design. This was also done with a very electronic score, the story of this scene is very much told through the sound.
The sound for the knife stabbing needed to have an effect on the audience, the foley we used for that was the sound of chicken being cut into, an apple being stabbed and an apple being sawed as well. I think combining all three of these sounds it definitely gets the sound that we wanted to produce.
Sunday, 17 May 2015
Logic Sounds
Here is a list of the sounds we used from logic, it ranges from drum kits to synth pads, the reason we used so many was so that we would have a lot of variation in our sound design, keeping it from getting repetitive.
Aurora Borealis
Digital Colors
Encircling Flow
Avolving Shades
Formant Flutters
Plasticity
Beautiful Melody
Mountain Flute
Grand Piano
Deterioration
Micro Pulse
Laser Brain
Moving Fuzz
Dub Mash
Divine Bass
Marble on a Journey
Big Saw Bass
Black Sun
The majority of the sounds above are on a very low pitch.
Aurora Borealis
Digital Colors
Encircling Flow
Avolving Shades
Formant Flutters
Plasticity
Beautiful Melody
Mountain Flute
Grand Piano
Deterioration
Micro Pulse
Laser Brain
Moving Fuzz
Dub Mash
Divine Bass
Marble on a Journey
Big Saw Bass
Black Sun
The majority of the sounds above are on a very low pitch.
Friday, 15 May 2015
Screen Shots
Here is selection of screenshots from the editing process.
The image below shows a sub drop from out sound design, as you can see from the waveform the sound moves up very quickly and the back down again in a similar fashion. By have this kind of sub drop it almost feels like the bass is washing over you. It has an unusual effect as an audience member when you can feel this bass coming in and out.
The image below shows the sounds from the opening scene, I think this gives a good idea of the amount of different sounds that we used. I feel that if this scene was shown without visuals it could work as a soundscape. It also shows some sounds to be almost non existent, but they still have a purpose in creating the full sound that you get in the first scene.
The screenshot below shows clips of sound that we decided to reverse. We decided that we had to record some screams, so we got Mike to scream into the microphone. When played back we decided that it need to be manipulated to fit in with the theme of our film, so we changed the pitch, added reverb and then reversed them.
The image below shows a sub drop from out sound design, as you can see from the waveform the sound moves up very quickly and the back down again in a similar fashion. By have this kind of sub drop it almost feels like the bass is washing over you. It has an unusual effect as an audience member when you can feel this bass coming in and out.
The image below shows the sounds from the opening scene, I think this gives a good idea of the amount of different sounds that we used. I feel that if this scene was shown without visuals it could work as a soundscape. It also shows some sounds to be almost non existent, but they still have a purpose in creating the full sound that you get in the first scene.
The screenshot below shows clips of sound that we decided to reverse. We decided that we had to record some screams, so we got Mike to scream into the microphone. When played back we decided that it need to be manipulated to fit in with the theme of our film, so we changed the pitch, added reverb and then reversed them.
Thursday, 14 May 2015
Scream Manipulation
We needed to record some screams for the opening scene, Mike decided that we could record him screaming. When we listened to them back they didn't sound like they would fit with the rest of the sound design. So I decided that if I manipulated them they would sound more like the screams that we wanted. I decided to change the pitch so that they were much lower, reverb was then added so that they sound as if they were in a small room, I also decided to reverse them which I believe to have had the biggest effect on them, creating a very unusual screaming sound, in the videos below it shows the sound before and after they were edited.
BEFORE
AFTER
BEFORE
AFTER
Wednesday, 8 April 2015
Post Production
For the middle section of our film, we were deliberating as to whether we should have an atmosphere track, although the main protagonist is shown to be outside, Me and Mike thought that it could work better with out one and would cause a lot more suspense.
We also want the story told through the sound design and as we want it to be predominately electronic we thought that we could make this scene flow a lot better if it was almost musical and score led.
In the clip above it is very much a tension building scene, I decided that the best way for us to build tension would start the scene out with multiple sounds. Our theme of dark ambience is very obvious in this scene as I wanted to create an eeriness to the location shown. When our main protagonist sits down the sounds are slowly pulled out, creating an almost silent experience, this makes the audience aware that something isn't quite right or is going to happen. Then we are greet by a sharp harsh sound, these sounds were created in logic and also the foley sound of a whip.
Wednesday, 1 April 2015
Post Production - Bass sound
I want Edgeplay to be very bass oriented, I want the audience to really feel it. Our plan is to have bass come in and out during the whole film, in the first scene which is shown below, we have a very subtle bit of bass. This clip gives you an idea of how subtle yet effective the bass can be, when only played on its own.
In the clip below I have incorporated the masturbating sound, this sound will be at the forefront of the sound design, the bass has been left in this clip to give an idea of how it will be used to sit subtly. This should have a great effect on the audience.
In the clip below I have incorporated the masturbating sound, this sound will be at the forefront of the sound design, the bass has been left in this clip to give an idea of how it will be used to sit subtly. This should have a great effect on the audience.
The clip below is the opening scene with all of the sounds put in, this gives a good idea of how everything comes together to show the dark ambience that we are after in our sound design.
Sunday, 22 March 2015
Production 2
Our second slot of filming was at our new location, Park Hill Flats. This was massively straight forward as we just needed film shots without any dialogue, this meant that I could record atmosphere and wild tracks. I spent this section of filming as a way of being experimental and trying out any ideas that I thought could be relevant.
I decided to wander around recording a range of sounds such as cars, doors slamming and just the general sound of the space we were recording in. This means that in post production I can make the sound design a reflection of the surroundings that we were filming in.
Here is a selection of photos from the shoot.
I decided to wander around recording a range of sounds such as cars, doors slamming and just the general sound of the space we were recording in. This means that in post production I can make the sound design a reflection of the surroundings that we were filming in.
Here is a selection of photos from the shoot.
Friday, 20 March 2015
New Location Recce
From our first shoot the script has changed slightly, there is going to be new locations, this means I need to consider new problems that I might encounter.
Park Hill Flats , Sheffield.
On the recce I found that It was very quiet which is great as it is the effect that we are going for. This means when I am recording I can get a that eerie sound that we want, It will work really well for our atmosphere tracks.
I found that I did at times pick up sounds of cars and other noises of the outside world, but I think this is something that I can rectify in post, by mixing in other sounds.
In the scene that this location is used, there will be no dialogue. This means that the majority of this sound will be done in post and the only sounds that I will be picking up are atmosphere tracks and any other sounds that I think are relevant to our piece for example; industrial sounds.
Park Hill Flats , Sheffield.
On the recce I found that It was very quiet which is great as it is the effect that we are going for. This means when I am recording I can get a that eerie sound that we want, It will work really well for our atmosphere tracks.
I found that I did at times pick up sounds of cars and other noises of the outside world, but I think this is something that I can rectify in post, by mixing in other sounds.
In the scene that this location is used, there will be no dialogue. This means that the majority of this sound will be done in post and the only sounds that I will be picking up are atmosphere tracks and any other sounds that I think are relevant to our piece for example; industrial sounds.
Sunday, 15 March 2015
Production
Production for our film has begun and is running smoothly, In terms of the sound, I think that I have covered most of the basis that I can so far. Any problems that I have had were ones that I had spoken about previously, for example the noise that I was picking up from the traffic outside, this was mostly rectified by sound proofing the room, more specifically the windows.
In terms of recording dialogue and other sounds such as wild track, atmosphere, etc. they have been straight forward, the actors have been very cooperative and easy to direct.
Listening back to the sound everything sounds very clean and I will have a lot to work with in post production .
Here are a selection of photos taken from our first shoot.
In terms of recording dialogue and other sounds such as wild track, atmosphere, etc. they have been straight forward, the actors have been very cooperative and easy to direct.
Listening back to the sound everything sounds very clean and I will have a lot to work with in post production .
Here are a selection of photos taken from our first shoot.
Thursday, 5 March 2015
Plan for Production
Going into the production of this film I need everything to run smoothly, so I have decided to put together a plan and sounds that I need to cover, I will break it down scene by scene.
Scene 1
Pay Pig - Waking up, Sounds of struggling, Dialogue, Sounds of wretching / Being sick, Chewing sounds.
The Professional - Dialogue.
General Sounds - Room atmosphere, Knife sounds, Plastic sounds.
Scene 2
Pay Pig - Dialogue, Sound of escape, Licking sound, Deep Breathing.
The Professional - Dialogue, Blowing nose.
General Sounds - Blade twisting, Knife sounds, Plastic Sounds, Room atmosphere.
Scene 3
Pay Pig - Hands breaking free, Dialogue, Struggling sounds.
The Professional - Dialogue.
General Sounds - Semen sound, Plastic sound, Knife sound, Room atmosphere.
All of these sounds are based on what I have depicted from the script and are brief outline of the sounds that I will need to mainly pick up. From now and throughout the production stage a few of these sounds could and probably will change due to problems we may face with actor availability or if we need to use new locations or if the script needs to be tweaked.
Scene 1
Pay Pig - Waking up, Sounds of struggling, Dialogue, Sounds of wretching / Being sick, Chewing sounds.
The Professional - Dialogue.
General Sounds - Room atmosphere, Knife sounds, Plastic sounds.
Scene 2
Pay Pig - Dialogue, Sound of escape, Licking sound, Deep Breathing.
The Professional - Dialogue, Blowing nose.
General Sounds - Blade twisting, Knife sounds, Plastic Sounds, Room atmosphere.
Scene 3
Pay Pig - Hands breaking free, Dialogue, Struggling sounds.
The Professional - Dialogue.
General Sounds - Semen sound, Plastic sound, Knife sound, Room atmosphere.
All of these sounds are based on what I have depicted from the script and are brief outline of the sounds that I will need to mainly pick up. From now and throughout the production stage a few of these sounds could and probably will change due to problems we may face with actor availability or if we need to use new locations or if the script needs to be tweaked.
Monday, 2 March 2015
Style of the Film / Sound Notes
Uploading has a very dark style, this is something that I have mentioned in my skills blog. In terms of the pre production process, trying to reflect the dark style in the sound design will be something I can achieve in the production and post production of the film.
In terms of an approach on set, I want to make sure that I get the cleanest sound possible, for example when Clinton will be chewing human faeces, I want to get really close in so that the sound is harsh and brutal. This is also something that I want to do when he is wretching and being sick. As this film is a very experimental piece I also want to try out a few experimental ideas on set, by doing this I think it could make the film feel more organic.
In terms of ideas for being experimental on set, I had the idea of attaching a microphone to the spoon that Clinton will be using, I would record this separately from the shot, I thought that this technique would be really good for getting up close and personal with the sound, so that you could really hear the chewing.
Post production is the biggest part for me when it comes to this film, with it being massively abstract we want it to be all pinned together by and electronic score. In our previous film Uploading we went with a very glitchy sound, this time we have decided that we it to be quite ambient and bassy, with a lot of dark industrial sounds. This is the point of production that I want to spend the most time on. A lot of inspiration for our sound will be taken from the likes of Clint Mansell and Trent Reznor.
In terms of an approach on set, I want to make sure that I get the cleanest sound possible, for example when Clinton will be chewing human faeces, I want to get really close in so that the sound is harsh and brutal. This is also something that I want to do when he is wretching and being sick. As this film is a very experimental piece I also want to try out a few experimental ideas on set, by doing this I think it could make the film feel more organic.
In terms of ideas for being experimental on set, I had the idea of attaching a microphone to the spoon that Clinton will be using, I would record this separately from the shot, I thought that this technique would be really good for getting up close and personal with the sound, so that you could really hear the chewing.
Post production is the biggest part for me when it comes to this film, with it being massively abstract we want it to be all pinned together by and electronic score. In our previous film Uploading we went with a very glitchy sound, this time we have decided that we it to be quite ambient and bassy, with a lot of dark industrial sounds. This is the point of production that I want to spend the most time on. A lot of inspiration for our sound will be taken from the likes of Clint Mansell and Trent Reznor.
Sunday, 1 March 2015
Kit List
This is a list of all the equipment that I will require on location.
Radio Microphones - Due to the size of the space, radio microphones will be the best way to capture sound, it will also be a good way to cancel out any unwanted sound.
Tascam Mixer - This will be the best way for me to keep an eye on levels and to make sure that I am not peaking on any of the dialogue.
Zoom H4N - The zoom is an essential piece of equipment when it comes to recording sound, it is great for recording atmosphere tracks as well as dialogue.
Sennheiser 416 Shotgun Mic - I have decided that I also want to record using a shotgun microphone also, I understand that I don't have masses of space to work with, but I think this will be good for a back up and will also be good if I need to record any other sounds on location.
Boom Pole - This is an essential when it comes to using a shotgun mic, If i find that I have more space than first thought then I will consider using this to record some of the dialogue, this will give me more to work with in post production.
Radio Microphones - Due to the size of the space, radio microphones will be the best way to capture sound, it will also be a good way to cancel out any unwanted sound.
Tascam Mixer - This will be the best way for me to keep an eye on levels and to make sure that I am not peaking on any of the dialogue.
Zoom H4N - The zoom is an essential piece of equipment when it comes to recording sound, it is great for recording atmosphere tracks as well as dialogue.
Sennheiser 416 Shotgun Mic - I have decided that I also want to record using a shotgun microphone also, I understand that I don't have masses of space to work with, but I think this will be good for a back up and will also be good if I need to record any other sounds on location.
Boom Pole - This is an essential when it comes to using a shotgun mic, If i find that I have more space than first thought then I will consider using this to record some of the dialogue, this will give me more to work with in post production.
Saturday, 28 February 2015
Sound Recce Report
LOCATION
CITY LODGINGS, SNIG HILL
SHEFFIELD
S3 8NB
The shoot for our film will take place in apartments in the city centre of Sheffield. When I did the location recce, there was a few issues that I found and I needed to rectify for the actual shoot.
CITY LODGINGS, SNIG HILL
SHEFFIELD
S3 8NB
The shoot for our film will take place in apartments in the city centre of Sheffield. When I did the location recce, there was a few issues that I found and I needed to rectify for the actual shoot.
The apartments were situated next to a very busy road and I found that the windows were very thin and I was picking up a lot of sound from the traffic. I decided that a good way to combat this would be to tape up cushions to the windows and also take the curtains up, this was to try and keep as much sound out as possible. I found that this had a massive impact and the noise from outside was blocked out. I also suggested that we shoot later at night as the roads would be less busy.
The room its self was fairly small and I found that there was very little reverb picked up, I think acoustics of this room will be very good to work with. The living room has wood flooring, this could be a slight issue as it could cause creaking underfoot. In terms of rectifying the problem, we will be dressing the room up with plastic sheets this means I put a softer material under, taking away any noise. The sound of the plastic may also be in issue, I think the best way to make sure it doesn't make to much noise would rely on the actors clothes being fairly soft, this would help deter much of the rustling sound.
I was also worried due to it being apartments I would pick up sound from other apartments, at the point of the recce I found that I didn't pick up any sound from neighbours, this might be an issue when we actually shoot though, I think that If I use radio microphones this could cancel out those sounds, due to it being tucked away on the actors.
Due to the room being small I won't have a lot of room to work with, which means that radio microphones will most likely have to used.
Thursday, 12 February 2015
Annotated Script
EDGEPLAY
written by
Beat Natale
INT. DUNGEON - AFTERNOON
The walls and floor are layered with plastic. PAY PIG awakes, gagged, and hands locked together with tape. A bowl of stinking dirty SHIT stares back at him. THE PROFESSIONAL looms gripping a blade.
(A subtle drone will be heard, this will set the audience up for that dark scenes that will be shown)
THE PROFESSIONAL
If you scream I will injure you, okay?
The Professional smiles gently.
THE PROFESSIONAL (CONT’D)
Remember, don’t scream.
The Professional slowly removes the gag, whilst prodding Pay Pig’s neck with the knife. The Professional picks up a chunk of faeces with a spoon.
PAY PIG
No, wait! What the fuck is this?!
Please!
THE PROFESSIONAL
Open wide!
The Professional force-feeds the retching Pay Pig excrement; causing him to spew.
(The sounds of wretching will be intensified; this will hopefully have a similar effect on the audience, causing them to gag to.)
(Dark ambient sounds will be propping up the sound of the gagging; this will have make the sound seem fuller and textured)
THE PROFESSIONAL (CONT’D)
C’mon, just a little more, try keep it down this time, you’ll feel better for it.
The Professional nudges Pay Pig’s neck with the blade, before thrusting another spoonful of human waste into his mouth.
THE PROFESSIONAL (CONT’D)
C’mon, chew it.
Pay Pig hesitantly munches; trying desperately to hold the shit down.
(The sound of Pay Pig eating will become the
forefront of the sound design, this will make it a lot more intense, making it very hard listening and watching for the audience)
THE PROFESSIONAL (CONT’D)
There you go!
Pay Pig reluctantly swallows.
THE PROFESSIONAL (CONT’D)
Now stick out your tongue!
Pay Pig abides.
THE PROFESSIONAL (CONT’D)
Good boy! Here, let’s get you up.
The Professional drags Pay Pig upright.
2.
PAY PIG
Please... Can I go now? I won’t tell anyone.
The Professional picks up the bowl, and wanders away.
THE PROFESSIONAL (FROM SHADOWS)
I’m impressed! You’re handling the pressure really well, considering
your family’s lives are at risk.
Pay Pig struggles desperately to escape. The Professional returns; blowing her nose. Green snot is SPLATTERED on the tissue.
(Electronic industrial sounds will be heard, this will reflect the struggle Pay Pig feels when he is trying to escape, it will also show the dark undertones of the scene)
THE PROFESSIONAL (CONT’D)
Oh dear, I think I’m coming down with something!
The Professional kneels; tissue and knife in hand.
THE PROFESSIONAL (CONT’D)
Sharing is caring though, right?!
The Professional holds the gunky tissue in front of the grimacing Pay Pig.
THE PROFESSIONAL (CONT’D)
Don’t be like that, you should try everything once!
Pay Pig turns his head.
THE PROFESSIONAL (CONT’D)
C’mon! Just lick it!
The Professional JOLTS the knife into Pay Pig’s ribs.
(The sound of the knife going into Pay Pigs ribs will be excruciating, I want it to be almost over the top, I want the audience to really feel it as well. Reverb and bass will be used to make it more intense)
PAY PIG
Please! Just stop!
THE PROFESSIONAL
Then lick it!
The Professional twists the blade.
(The twisting of the blade will have a crunching and squelching sound to it, I want the audience to find it hard watching due to the intensity of the sounds.)
THE PROFESSIONAL (CONT’D)
Lick it!
PAY PIG
Okay! Okay! Please, stop!
Pay Pig takes a deep breath, then unwillingly licks the mucus from the tissue; making him sick again.
(The sick noise will also be over the top and disgusting, a bass drone will be lingering under the sound design at this point also.)
THE PROFESSIONAL
Fantastic! You truly disgust me!
3.
The Professional wipes the gooey tissue on the heaving Pay Pig’s face, then tugs the knife from his body. Blood SPURTS. Pay Pig screams.
(The spurting blood will be at the fore of the sound design, the screams will take a backseat, I want the screams to sound almost as if he is suffocating, I think this will give a sense of struggle and will also show how helpless Pay Pig is)
PAY PIG
Please let me go, I’ll tell no one!
The Professional disappears into the shadows. Pay Pig grapples with his tied hands. The grip loosens. Pay Pig fearfully scouts around; wrestling to escape when...
SNAP!
Pay Pig’s hands break free. He stands up. Disorientated. He heads towards the darkness, when OUT OF NOWHERE the Professional RAMS a knife into Pay Pig’s neck.
(I want to reflect his disorientated state with a wobbly bass sound, this will show his unsteadiness.)
THE PROFESSIONAL
Oh no! Now look what’s happened!
Pay Pig’s pain threshold is broken. The adrenaline sends him into a state of ecstasy.
THE PROFESSIONAL (CONT’D)
Does it hurt?
The moment of bliss finally subsides. Pay Pig comes back to reality, and notices his hand drenched with semen, before realising he’s bleeding out.
(The blissfulness will be shown by an ambient electronic sound, this will be a perfect way to show reflect his mood)
(I want to then bring out the ambience as he starts to realize he is bleeding out, this will be replaced by a dark bassy piano, this will show the change in mood)
PAY PIG
Red! Red! Red!
The Professional freezes, leaving the knife in Pay Pig’s throat. Pay Pig fumbles around his pockets, and produces a wad of cash, which he hands over.
PAY PIG (CONT’D)
Thank you.
THE PROFESSIONAL
You’re welcome!
Pay Pig staggers away satisfied; clutching the knife still stuck in his throat.
( A dark ambience will end the film, this will be a reflection of the film as a whole, I want it to be viewed as having dark tones and to have a hard hitting effect on the audience)
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