EDGEPLAY

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 Estíbaliz Mellado.


Edited by Michael Dalton.


Sound by Luke Hall.


Music by DJ Klamidia.


Written and directed by Beat Natale.

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. 

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.

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. 

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