House of Flying Daggers

With this being my first experience and experimentation of Foley Work and compositional aspects towards film, the learning curve was steep and time consuming to get the overall effect I could visualise.
When creating the tracks for this video I knew I wanted to keep the sounds based on reality including keeping the musical and stylistic sound effects as ‘authentic’ as possible.

The different sound samples came from our iMac computers which presented both a positive and negative due to a limited in the number of sample options. This was most apparent with the ‘breath’ sounds. To counter act the samples sounding regimented and disjointed to the video (thus dispensing the viewer’s disbelief) I combined two or three different sounds, making a composite singular sound. These composite sound files have to be both synchronised with themselves as and the visuals. To overcome using repeated sounds I used pitch shifting so that each sound varied during the piece. Using automation to increase reverb and delay, as well as increasing the volume at specific points to highlight tension or specifics.

What went well:

• Composite sounds.
• Integrating authentic sound effects and musical content.
• Correct synchronisation for a first attempt.
• Use of musical elements to enhance the action and mimic the visual elements.
• Use of punctuation combining sonic and visual elements.

What could be improved:

• At points the breaths seem unnatural.
• During the musical elements, the Foley effects are too quiet.

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