For this task, we had to focus on the importance of sound within media production. We had to individually produce a multi- layered soundscape linking to a clip that had previously been provided to us with a choice of 5 clips. These sound files could be either diegetic or non-diegetic but link to the tone, mood and meaning of the clip. We were provided a demonstration of this task in a scheduled workshop which explained the importance of layering sound and using more than one sound track in a clip to make it seem more realistic and adds more dimension to the overall product.
In order to focus on the impact of sound in a clip, I decided to choose a clip that included no dialogue from any characters that were seen within the scene. This allowed me to focus on sounds effects and any natural sounds that you would expect to here in the location setting, allowing the feeling of realism. “Sound has an influence on picture and vice versa”. (Sound for Film and Television, Tomlinson Holman, 2002). The difficulty with this task came from creating the effects on your own and having to image what the sound would be like in that particular environment. This meant having to study the visual aspect of the clip in order to pick out certain features that would link to an important sound that would be relevant.
Within the clip chosen, there is a mixture of shots that would include locations that are interior and exterior. This would mean having to change the background noise depending on the location. For exterior shots, I tried to replicate the subtle sound of a sea breeze and crashing waves due to the camera showing establishing shots and point of view shots from one particular character looking towards the ocean. Because of this I also used non-diegetic sound effects of seagulls to try and replicate a natural setting sound of the sea side. This sounds was carried on into the interior location of the car due to it being a moving vehicle and not stationary as well as the hair on character shown to be blowing around, meaning a window must be open and allowing the wind noise to follow into the car.
With the vehicle being a significant feature within the clip, I wanted to include the non- diegetic feature of a radio within the car. I felt doing this would create a more realistic environment within the vehicle as well as creating a new sound to add drama. I lowered the volume of the song used in the car to create the feeling of background noise and increased diegetic sound; such as a sigh sound for the older character. Due to the window being open in the vehicle, I included the previous sound of the sea and wind, but once again lowered the sound due to the position of the camera appearing to also be inside this vehicle, this would create a lower natural outside sound. I also used “pre- lapping” when adding sound. A technique I found in “Sound for Film and Television” by Tomlinson Holman (2002). This technique involves cutting a picture before cutting the sounds which “feels different than cutting both sound and picture simultaneously” (page xix).
One aspect I struggled with during this task, was the layering of sounds and making them sound natural when together as well as not making the sounds appear blunt or unnatural when played. Some short sounds would appear out of place and not soft enough for the environment. I also struggled discovering sound tracks for the underwater scene of the clip. This section included an underwater shot of a whale that would have limited sound.
The success of this task came from the understanding of how layering sound can help increase the professionalism of media products and not being afraid to explore different sound effects that are not always seen on screen.