October 2016 – Page 3

Group Meeting #3- 5th October 2016

October 6, 2016December 6, 2016Group Meetings & Tutorials

This meeting was attended by all members of the project and the main aim was to discuss dates and times of when people couldn’t do filming and also when we could possibly start filming. We also discussed a rough timeline of when the edit and picture lock should be done by so post-production sound could start.

With things being as organised as they, we should hope to have the film shoot finished on the 18th of November given Tom (Editor) enough time to edit the film and have the picture lock to us by early December at the latest. We stressed that when we received picture lock, nothing could be changed in the film as it could throw off the sound on the film making everything out of sync. I know this from past experience as I have had to re-do audio for a certain scene as here was a different edit. Tom took this on board and assured us that he would work to his deadline.

Lauren showed me a few drafts a costume design which was incredibly useful as it gave me some indications on where to place any Lavelier microphones that we may use on set.

This meeting helped us achieve progress for our project as now we have deadlines to work to, helping us organise our time with other work.

Group Meeting #2- 21st September 2016

October 6, 2016December 6, 2016Group Meetings & Tutorials

This meeting was all about catching up with each other after a long summer of researching for our project. In the summer we set up a Google Drive folder for everyone to share their research so each and everyone of us could contribute.

Me, Dan and Sam met Jamie for the first time as he was unable to attend meeting #1 so it was a great opportunity to share our previous work with each other and to break the ice.

We then went on to discuss our thoughts on the fourth draft of the script; Everyone seemed to be impressed and enthusiastic about the script and the whole project as a whole.

The Audio Team (Me, Sam and Dan) put forward ideas of how to go about the Location Sound aspects of the project. Basically explaining the importance of when location scouting, it is incredibly important to try and get the quietist location possible as it can effect the dialogue captured. The production team took this advice on board.

Overall the meeting was successful as it outlined what needed to be done in order to pursue this project and to make it successful.

Group Meeting #1- 18th May 2016

October 6, 2016December 6, 2016Group Meetings & Tutorials

Me, Dan and Sam had previously worked on films together and thought it would be fitting to work together for our first final year project. We were asked by Lauren Taverner to be apart of their first final year project group and because they seemed well organised and new what they wanted to do before the end of 2nd year, we thought it’d be worth having a meeting with them.

So the meeting was all about breaking the ice and for them to put forward their film idea and for us to show them our experience with audio for visuals. We all seemed excited with each others work and decided then and there to establish the group.

Overall the meeting incredibly useful as we all seemed keen on ideas and got along greatly. Being impressed with everyones work was a key indicator that the project should be a success.

Booming

October 6, 2016December 6, 2016Research

Booming

The go to technique for Location Sound Recording is booming. This requires a boom microphone and a boom pole. This is favoured as it produces more natural sounding dialogue (Viers, 2012, 45). Booming is following the talent with a boom microphone as close as possible without entering the frame of the camera. The position of the microphone matters as there are placements which won’t give the same quality of audio as others. Booming overhead is the much preferred technique as the loss of frequencies is reduced but you can boom from underneath (Scooping). Scooping can reduce background noise and hard surface reflections but doesn’t pick high frequencies which can result in heavy, muffled dialogue (Viers, 2012). Where you aim your boom microphone is essential. The best place your microphone is at the chest.

There are three types of boom microphones; A short Shotgun, a Long Shotgun and Cardioide. Shotgun refers to the type of polar pattern the boom microphone has. The polar pattern of a shotgun microphone is the most directional of the polar patterns with sharp rejections from the side and back and a narrow pick-up from the font. Short shotguns are more forgiving in terms of cueing (microphone position) and are used for interior locations and sometimes exterior depending on the environment you are shooting in. Long shotguns can be up to three times the size of a short shotgun and have a narrower and longer range of polar pattern and are really only used on exterior sets.

The Cardioide microphone has a much larger pick-up polar pattern than the Shotgun having a much larger front and side pattern with rejection from the rear. Cardioid microphones can be more forgiving if you make a mistake on cueing your microphone and can capture more natural sounding reverb. However, because of its polar pattern it needs to much closer to the talent because the pick-up range is reduced.

Project Aims and Objectives

October 5, 2016December 16, 2016Aims, Objectives and Outcomes

This project is all about the collaboration between the different roles required to make a successful short film. The roles that myself and my colleges, Sam Jenkins and Dan Marnie will be undertaking are Location Sound and Post Production Sound. Both these roles play a part in either making or breaking a film so it is vital you get it right.

Requirements
Viewfinder Productions have constructed a brief for the Sound Team to follow. Our job it to fulfil these requirements to the highest standard. The brief includes:

Production Responsibilities:

Prior to shooting, to come to the set, and professionally assess the acoustics of the performance area.
1. This also involves the assembling, operating and later removing of the necessary equipment.
To consult with the Producer (Hannah Darby) and cast to determine the sound requirements, and what is needed for the best possible output/input.
To select, position, adjust and operate the equipment used for amplification and recording on set.
To apply technical knowledge of sound recording equipment to achieve the artistic objectives of the Director (Lauren Taverner).
To record sound to the highest quality possible on set.
To monitor audio signals to detect sound-quality deviations or malfunctions.
To anticipate correcting any problems.
To maintain and repair sound equipment where needed.
To answer any questions that the cast or crew has in terms of the understanding of the audio and what their role is to ensure its quality.

Post Production Responsibilities:

To integrate and synchronise the pre-recorded audio (dialogue, sound effects and music) with visual content.
To re-record and synchronise audio (post-synching) if necessary.
To mix and balance speech, effects and music (where necessary).
To create and alter sound effects for use in films, television etc.

The final deadline for this submission will be the 15^th December at 4pm.

Aims and Objectives
The aims and objectives created by the Sound Team (consisting of Dan Marnie, Sam Jenkins and myself) are as follows:

Produce one advanced concept led audio project, in this case a short film for a client, successfully fulfilling the clients’ brief and satisfying their expectations.
Research necessary equipment, techniques and other information pertaining to both Location Sound and Post Production audio, and use that knowledge to effectively improve the quality of the project.
Plan our work, attend any group, client or tutor meetings accordingly; and ensure we do not fall behind with any work that needs to be completed.
Document the project meticulously, and present this information in a blog format.

Outcomes:

To be able to further my knowledge in Location Sound and achieve the highest quality in Audio as possible.
To produce a complex piece of Sound Design that compliments the film and drives forward the narrative.

Individual Learning Outcomes:

Further my knowledge in Location Sound techniques
Use varied microphone techniques on set: Plant microphone techniques and Booming techniques
Develop personal skills to achieve a high standard of set etiquette
Research and utilise foley recording, mixing and editing techniques