Completed sound project. Full production report below.
I started
the sound project by choosing the “How to cope with Death” animated clip
because it looked like something more interesting to create foley for. Before
recording any sounds I decided to go over the clip several times and take notes
on what types of interesting sounds I could use for the animation. When
planning for sounds I also considered what types of sounds I could use that
wouldn't be used in a naturalistic or conventional way. The idea was to use
sounds that would be used purely as a stylistic choice, like using a sharp,
scraping sound for the drawing of a scythe, even if it wouldn’t produce a sound
like that in real life.
Recording
sounds caused no major issues other than obtaining specific sounds needed that
couldn’t be faithfully recreated. This included monster growls and roars needed
for the skeletal being/death. Other difficult sounds to replicate were
different glass breaking sounds as there were no disposable glass objects
present during foley recording. Loud crashing noises were also difficult to
recreate due to the low amount of large objects that could be dropped. It was
also difficult getting the noise of sparks going off from the broken television
just right, as well as the ensuing fire. I was also unsure about whether there
was any need for the old woman to have any voice acting in terms of grunts and
screeches.
The editing
process was slightly complicated, as several of the sound clips needed to be
edited to fit with everything else. Some audio clips were too soft or too loud
when placed in sequence as certain sounds that needed more emphasis would be
drowned out by louder unnecessary sounds. It was also difficult to find a copyright
free soundtrack to place in the background that worked well as with the action
in terms of beat and rhythm, as even the slightest change from the animation
takes away the immersion. Distorting the audio for the skeletal being’s sounds
recorded from a friend was the most challenging part, as the audio needed to be
timed just right in sync with the animation while also requiring a sense of
danger and creepiness. As mentioned earlier, I found that taking liberties with
the audio and not following exactly which audio should go with which shot made
the video clip more audibly entertaining. For example, using scythe swiping
noises instead of the actual recorded jumps makes the jumping shots from the
animation clip a lot more entertaining.
In
conclusion, the sound project helped widen my view on how recording foley for
animations or for any piece of media can be interesting albeit slightly
complicated work. Seeing and experiencing all the effort that goes into foley
recording allowed me to better appreciate and have a better understanding on
the importance of sound in film and how crucial it can be to the point where the
smallest error could ruin an entire piece. Editing the sound also helped me
gain a better understanding of the sound editing programs that I will be using
in the future.
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