Girl With The Dragon Tattoo Trailer
The aim was to achieve discomfort in frequency and dynamics in order to create tension, unease and suspense. Grab the listener’s attention and not let go. A lot of hyper real and non-diegetic sounds were utilised such as the dentists drill contributing to one layer of the tattoo gun.
"At the beginning after the electric light scene the trailer goes into a space type scene where we are travelling through the inner body. The transition between those two initial scenes I enjoy as its distracting, confused and sub human, it pulls me and the listeners in waiting to see what comes of it. The frequency of the prolonged whine that runs through the whole scene of the inner body demands attention from the ears.
I enjoyed the freedom to do things to sound whilst making this, musical compositions I don’t think have the same allowance of diversity. i.e. the clash and balance between sounds can be much more diverse in AV." Skcollob
Fear Of The Dark Trailer
"I began the project again with Foley, the footsteps of the dog handler trying to dub the right timing and realistic sound. The dogs were my next focus and I took into account the number of dogs and their movements. I put together 8 layers for the initial dog scene including, panting, whining, growling and barking. There are two dogs which make mouth movements at different intervals so I picked a suitable menacing dog bark and then sampled it in order to differentiate between the different dogs. The more I worked on this scene the more involved in the automation of volume I became. The first scene has the dogs and handler close, then they are slightly further away up until the scene where you see the dog handler's shoulder. Overall there are those three volumes to consider in the opening scenes, panning also. In the initial scenes you see the dog handler pull at the leash, here I incorporated a few groans. There are a few subtle elements in the video that can be easily missed, on their own they don’t alter the overall affect but all of them together enhances the audio and conception in to a realistic feel.
The next scenes worked on were the view on the boy’s habitat in the distance, the boy’s habitat closer with the boy moving around and then two scenes in the cave. I implemented a few animal noises here to give the feeling of a little homestead with cultivation of chickens and goats. There is a little windmill by the homestead, which assists in making this realistic. I added the sound of a bumblebee too, buzzing around, this was overall in order to assist with the ambience. Yet again I found myself altering the automation towards volume and panning many many times. As the homestead is at different distances in the scenes so too is the volume of the audio towards the animals and Bee. Once the boy is in the cave I reduce the volume of the goats and chickens as the cave omits some of the external sound. I’ve changed the Bee to a fly and increased the volume slightly in order to switch it up a bit. The next cave seen sees the approaching dogs and handler, yet again the volume is automated to perceive this. Then the dog frenzy scene happens. I recorded the sound of dogs growling and barking, layered along with my other dog sounds so as to add to the overall intensity.
The music chosen as the soundtrack here is period, in keeping with the dog handlers clothing and the era in which the scene depicts. The music carries suspense, iminnent trouble and regimented dynamics, all let leash in the single moment that the dog charges. I want to get the blood flowing, I want the undivided attention of the listener and I want to be the one in controll of that release." Skcollob
Parts 1 to 6:
Part1 Marrakesh Market Scene Market Scene/ Audio Rebuild and Design ; 92.3 MB
Part 2 Imlil/ Mountain Scene Audio Rebuild/ Design and Soundtrack; 175 MB
Part 3 Toubkal/ Quarazate Scene Audio Rebuild/ Design and Soundtrack; 124 MB
Part 4 Merzouga/ Desert Scene Audio Rebuild/ Design and Soundtrack; 77.9 MB
Part 5 Merzouga/ Desert Scene Audio Rebuild/ Design and Soundtrack; 115 MB
Part 6 End Scene and Credits Audio Rebuild/ Design and Soundtrack; 21.6 MB
"The video I captured on the Samsung Galaxy 3 was an experiment. In no way am I a cameraman nor did I set about with David Baily aspirations. The quality of the Samsung is exceptional for picture." Skcollob
The video shots were taken in Morocco and so to were over 200 audio sample recordings. The scenes that you see in the video appear as if the audio to it is simply the audio captured with the camera, this is not the case. In the first market square scenes there are over 30 tracks of individual samples (113 tracks within the whole film). Individual samples recorded on the Zoom H4n Handy portable recorder ( x2 coincidental pair of condenser microphones), individual sounds individually mixed, individually placed and automated. The video was affected with a negative filter which detracts the video from reality and asks for the audience to compensate with their own subconcious, aiding the listeners to focuss more on the sound and music.;
"The colours in the frames just look gorgeous now and there’s a trippyness to the flow of the film, a dreamy ambience where no real story is being told but the eyes and ears are afforded a banquet of sound and vision so closely linked to its true origin and feel. Sometimes I felt like God, it was up to me to orientate the feelings behind the sounds, from heavenly to aggressive or tense. I laugh still at the market square scene where the yellow and black truck appears, there is a man in a blue top in the way so I implement a beep and the man moves away, now that is power! Im also amused at the horse and cart scene, the sound of the horse is so perfect, it belongs there, well it was a straggley old donkey that I recorded and implemented there. Sound is sound, but sound also requires interpretation and interpretation is far from universal." Skcollob
The soundtracks Skcollob sourced for this video are local to the different regions depicted in the film.;
"It would be nonsense to add Berber music over Desert scenes, firstly the instruments are made from materials found in the mountains not the desert, the energy that filters through the eyes to the instrument are different from mountain to desert, the sunset is different and so too the soul that plays the notes. It had to be local musicians to the region, when rebuilding the atmosphere in every aspect of a scene then the constant attention to detail pays off. This is more so a personal piece of work and its understandable that it could be critisised for the video content and flow, however there are many many complexities and excellences that exist behind its making and sound design." Skcollob