Wednesday 27th April
I have researched how to use a zoom to record foley, using the following information. I will be using a Zoom to record the majority of my foley work. This taught me that capturing sounds using a zoom is a quick and easy method to get good quality recordings.
This website was very useful as it allowed me to read what other peoples opinions and views on recording with a zoom were. I used the zoo to record my sounds. I used it in a variety of ways and I was inspired by some of the comments within this website. This can be seen in some of my recordings.
I also researched how to record foley in general, and how to create unusual yet effective sounds which I can insert into my work. This is shown here.
I researched how to record foley on a phone, although I have decided it would be more efficient to record using a Zoom. This is because the sound quality is better using a zoom and I have access to the zoom so it would be more appropriate to use it.
Rodrigues, P. (N/A). The Art of Foley. Available: http://www.marblehead.net/foley/specifics.html. Last accessed 18th Apr 2016.
This website has given me some insight on how open foley creation really is, and how unique some of the sound creation methods are. There are some very helpful sound creation techniques within the website. The idea of using a metal rake to create the sound of the gate has a lot of potential and I feel comfortable trying this method. This showed me that foley creation does not have to be literal. I demonstrated this by experimenting with different objects.
Wednesday 4th May 2016
Today we spoke to our tutor and he introduced us to a software called Space Designer. Space designer is a program that allows you to make sounds you have captured sound like they are in other places. For example if I was to record voices outside and needed them to sound like they are in a confined space, Space Designer would allow me to do this by adding reverb to the sound. I then researched how space designer worked and have applied this into my work. This can be seen here.
This is applied in my work.
Monday 9th May 2016
Audio Blocks. (2016). Doors Royalty-free Sound Effects. Available: https://www.audioblocks.com/royalty-free-audio/doors-sound-effects. Last accessed 9th May 2016.
I needed to research sound effects for doors. Although this is the first sound I found, but I feel it worked very well for the effect I was attempting to create, so I decided to go with it.
This sound effect worked really well for the door opening scene, the sound was natural which allowed me to add strange atmospheric sounds over the top giving the scene a eerie and unusual feel. This can be seen in my work.
Tuesday 10th May 2016
toiletrolltube. (2013). Piercing Noise. Available: http://www.freesound.org/search/?q=dbus-daemon&f=&s=score+desc&advanced=0&g=1. Last accessed 10th May 2016.
I used this website to find a sound for a part of the film. The high pitch ringing shows the character is disorientated and uncomfortable. It was really effective for my film as the camera shot goes out of focus, showing disorientation. The sustained high pitch ring also allowed me to add other unusual and abstract sounds over the top successfully.
At the front of my film I have placed a piece of music by Underworld and through previous research done on the course I understand that I need sample clearance, hence this research.
- “The publisher of the original work must be contacted. You’ll need to find out who the original writers of the work are, and which publisher(s), if any, represent their interest or share of copyright in the song. In the UK, the MCPS/PRS can help you with this. They operate a vast database of registered works, and also have a sample–clearance team to assist you. Once you know the publisher and authors, you provide them with a copy of your new record, a copy of the original sampled record, and an isolated copy of the sample in question. Providing extra details, including the release label and size of the release, will help them evaluate your proposed use and speed up the process. The publisher is then in a position to consider price, contact the original composer for permissions concerning moral rights, and start negotiations over copyright ownership and royalty splits on the new record.” (Salmon 2008)
- “The record company must be asked for permission to use the original sound recording. Master rights have their own price tag, and sometimes artists or labels will simply refuse to give their permission to use a sample — and they needn’t give reasons. If no permission is given, or the price tag is too high, you needn’t abandon your project altogether: as long as you can license the publishing rights, sample recreation companies should be able to construct an authentic–sounding reproduction of the recording. See the ‘Recreation Grounds’ box for more details.” (Salmon 2008)
The piece of music I have used is Underworld – Born Slippy as used in Trainspotting.
The rights for this song are owned by “Junior Boy’s Own” who specialise in dance music.
The piece itself was written by “JASRAC”
The record company are “Sony Records” SRCS 8189
16th May 2016
I have done some research on how to record the sound effect of “running” and I have found a useful website. As seen here.
This website has enlightened me on different ways or recording running foley.
“To get “in sync” with the actor, you must try to watch their shoulders (not their feet!) – if you watch their feet then you will never be in sync because this technique is too reactionary. The shoulders however, will give you the sense of movement about to happen and when you sway and move as the actor does, the feet just tend to naturally sync up!” (Rodrigues 2013)
This has helped me a lot in recording the running foley as it was rather frustrating getting the foley in sync with the film, as I was watching the actors feet and trying to react fast enough, which was extremely difficult.
Another useful point made on the website is that,
“You will need many kinds of well worn shoes – a trip to the Salvation Army store will yield many treasures (cowboy boots, pumps, hard and soft souled shoes) at a reasonable price. You may need to ‘gaff tape’ any squeaky or loose ornamental bits so they don’t clutter the sound of the steps; remember you are trying to record a clean, rich sounding footstep and it doesn’t matter what the shoe looks like!” (Rodrigues 2013)
This is very effective and very important to create and capture the right sound for the scene. I used different types of shoes to record different foley for different parts of the film.
Rodrigues, P. (2013). Feet. Available: http://www.marblehead.net/foley/feet.html. Last accessed 10th May 2016.
Monday 23rd May
I used primary research and found an audience (5 people of all different ages. 3 were male and the rest female) to give input on my film. this lead me to change certain parts of the film due to the target audience and it allowed me to reflect and understand what each different person thinks about my film.
Monday 30th May
Today I mixed sound and foley a little more. I did some research on previous websites which was good to revise. Theres a lot more to Foley and sound mixing than I have been attempting. Today I experimented with in depth foley editing and sound design. As the project is coming to a close I feel this would be a good time to begin experimenting as I am comfortable with my current project as it stands.
Monday 6th June
Today I replayed the film to the same audience I did recently. I let the film roll and asked for feedback once again at the end. The feedback was a lot less critical as I had updated my film to appeal to the audience. The majority of the audience approved of the re-edited version of the film, although some preferred it the way it was before, hence why I plan on keeping parts of the old version of my edit and just updating parts that sound dull and bland. A lot of the audience liked the unusual sounds layers throughout the film. So I have decided to finalise the film and approach it in that editing way.