Image Credit: PremiumBeat by Shutterstock
Welcome back to the blog! I'm very excited to discuss my team's plans for audio recording and foley for our upcoming portfolio project.
1. ON SET AUDIO
Our main filming location will be a restaurant so a couple things we need to look out for are background noises from other patrons, plates clattering, waiters walking, etc. This background noise will aid in making our project feel more real but it could potentially muddle the dialogue of our actors. Now, I often use a set of Hollyland Lark M2 lavalier microphones for most of my projects and, while it is unconventional to use lav mics in a film, I believe it could be smart to use in place of boom mics as we can easily hide them in the characters clothing or within props in the scene and have the audio still be focused on the dialogue and not have much bleed from the background. If we were to use a boom mic, the mic may have a chance of picking up plenty of extra noise due to the distance it must maintain from both the characters and the camera, but it will also be much more of a disturbance to the restaurant and its patrons as we'd have a person standing in the middle of a walkway holding a big stick, blocking people from passing through. The Hollylands are wireless magnetic mics that are about the size of a quarter that could easily clip to the characters under layers to capture audio and stay out of sight. To make sure the background audio stays consistent through the whole project, I will also be letting the camera record the ambiance of the restaurant for about 2-3 minutes.
2. FOLEY
My main source of foley for the projects we do for this class has been Epidemic Sound as we have a subscription to it provided by the school. It has a very large database of sound effects that will aid us in making our project as realistic and believable as possible. Any lack of SFX or foley can make a project feel flat and will not immerse the audience into your project no matter how good the visuals are. That being said, I don't have a very large list of SFX prepared before the shoot. Most of the sound effects I will look for will come from watching the footage and finding what is needed in the scene in the edit. The list I have now includes things like the characters sitting down, clothes ruffling, running footsteps, the latch of the villain opening a briefcase, and the clatter of tableware the main character accidentally knocks over.
3.MUSIC
Although I would love to compose all my own music for this project, as I know how to use the digital audio workspace Logic Pro, I don't believe I will have enough time to both create the music AND edit the entire project. This is why I will most likely be grabbing music from Epidemic Sound as they also have a very large music database alongside their sound effects library. The vibe we are trying to give off with the music is something adjacent to James Bond; classy yet action packed and primarily using orchestral instruments like trumpets, trombones, and violins. I may potentially write a motif for the character when they enter the scene and write a bigger version of that motif for when the character reveals their true self and the title card hits.
4. EDITING
The sound editing for this project will go through a very simple but long pipeline. First, the line edit of the footage from the set followed by leveling the footage audio. Once the footage audio has been completed, I will layer in the foley and extra sound effects, making sure to level them appropriately for the scene. Finally, I will place in and cut the music together to the story so that it doesn't overtake the rest of the audio and also matches to the story beats.
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