My deliverable centred on sound design for two scenes from the independent Scottish film 'Dick Dynamite: 1944', and one from 'The Gudeman', which is currently still in production. Each scene consists of all new sound design and provides examples of proficiency in sound design techniques and a strong awareness of psychoacoustic principles.
I wanted to create professional standard sound design for these scenes using, for the most part, free or stock VST synth and effects plugins, proving that this could be done on a low budget and that audio need not be an afterthought for low budget filmmakers. Utilising my newly created audio for these scenes, I set out to prove the importance of including sound designers at an early stage of production by involving focus groups and directors in surveys and longform interviews during each draft, collecting and analysing quantitative data sets.
Sound design for weapons and vehicles made up the bulk of the sound design. These sounds were built from scratch using layering techniques and multiple digital signal processing chains.
Non-diegetic sound was also explored in depth during this scene, which includes repeated usage of atmospheric slow-motion sequences. This was carried out through the use of synthesis, layering and DSP.
Non-diegetic sound was also explored in depth during this scene, which includes repeated usage of atmospheric slow-motion sequences. This was carried out through the use of synthesis, layering and DSP.
Some editing of the original classical music score was required towards the end of this scene in order to bring in other sound design elements such at atmospheric ambience, backgrounds, and layered whisper vocalisations, which were treated for noise cancellation and de-essed using Izotope RX-8.
Steinberg Halion 7 and u-he Diva synth VSTs were utilised to create much of the musical atmospherics and mountain rumble. Low end elements were given extra power using LFE audio created through subtractive and additive EQing.
These technical aspects and more were implemented after speaking with the director. Conversations regarding the tone and narrative strongly influenced the psychoacoustic techniques and approaches towards this particular scene.
The study found that utilisation of the four sound areas framework (narrative, abstract, temporal, and spatial sound) in both practice, research, and analysis, provides basis for the creation and development of emotive sound design. Utilising mixed methods research, it is possible to identify specific techniques and sound areas most likely to elicit powerful audience reactions. Sound design and its powerful emotive function should be considered at the earliest stages of preproduction, informing the creation and development of the picture for true creative vision to be realised.
