In between projects I was given some free time to experiment and record with several different mics. Using and working with different microphones makes your work overall richer and brings a huge variation to sounds you can play with. Thanks to the company’s vast range of expensive equipment I was able to record some rare Hydroponic mics, Geophone mics, and many more.
Over the months I collected a series of experimental sounds and noise to add to my personal library. Which will be useful for future sound designing. From these moments I realised the importance of building up a personal library and how much more equipped it makes you for sound design.
The photos and videos below show me experimenting with a set of rare contact mikes. Since this recording session I have added them to my personal library.
My first project was an interactive thriller named Hello Stranger. An interactive film is a multimedia project which allows the viewer to choose a pathway or storyline based on giving them different options. There can be multiple endings and pathways within an interactive feature; similar to a video game. This journey was new to me; not only was this my first project, but it was entirely different to a feature film – which I had only ever previously worked on. Alongside two other composers, I had to navigate my way through the interplay of the viewer’s choice and audio immersion. While simultaneously keeping a key sonic house style and a strong sense of storytelling. Pushing my way through the usual boundaries of telling a sonic tale, I ventured into a new futuristic realm of filmmaking.
I found that Hello Stranger was a real test of character for myself as a sound designer. The vast amount of work really challenged me and how I approached composing. I had to become versatile and not repetitive whilst ultimately keeping a house style of sonic theme throughout. Although an oxymoron both must work together to create a long and in-depth piece of art.
Overall I do believe I have created a successful piece of work for a lengthy interactive feature film. Finally, I am looking forward to hearing this in cinemas come the end of summer 2024.
In November I was lucky to assist a Crowd session for a Universal Pictures feature film called ‘Tin Soldier’. This was held at Soho Studios; somewhere I had never been before. Upon reflection, I realised the advantages that working in multiple studios brings to your practice. It keeps you versatile to work in multiple locations and mixing desks; something that is common within the industry, and very mandatory to be able to do.
The crowd session itself was a unique task on my placement. This was different to other ADRs (additional dialogue replacement), as unlike typical ADRs we had multiple actors in the studio at once. This took a lot of organising and directing to produce high-quality results. The session involved a lot of shouting from actors which meant as an organiser I had to consider voice quality; meaning it was vital I prioritised and arranged scenes accordingly. This would benefit both the sound team and the actors.
At first, I underestimated the note-taking during the recording process, however, I soon learnt that during the post-production, it was vital to have the best takes written down for reference and use. This saves a massive amount of time during the editing process. Note-taking is crucial during any recording session, and since this project is something I have continued within my daily practice.
During October I was asked to help with foley recording and editing for a Now TV series called ‘Majorca files’. This project was a quick turnaround in regard to corporate work for the company. Unlike feature films where you are given months, this was a short three-week deadline. The Foley team had to work alongside each other swiftly and efficiently to ensure the task was delivered on time. Alongside keeping high standards of editing and mixing for the client. This was my first Foley project, and although Foley was not my favourite type of sound work to create, this role taught me how to keep a strong sense of professionalism under extreme circumstances and demanding deadlines. Although time was a key feature of this, keeping good quality was crucial throughout.
The project was finally delivered on time with great feedback from the client. Overall this was a great success and can now be seen on NOW TV.
Amazingly I was recently given a short film to compose and sound design for. This is my first project where I have had full control. Despite feeling super excited and creatively free, I also found this extremely daunting. Realisation soon hit, that the entire sound design’s responsibility falls on my shoulders.
However, once I came to terms with this I began my work! Angel’s on Oxford street is a short animated film directed by Paul Shammasian. It is based on a true story – portraying a homeless man on Oxford Street and the message behind kindness.
With this being a short film, it allowed the studio to create a close bond and connection with the director; which meant together we could get the sound design and film working in harmony. Having the director present throughout the process was such a positive to my sound designing. The director gave me a new level of understanding and perspective on the film. Which I do believe allowed me to see the sound design on a deeper level. Specific details were added in, which really provided a punching edge to the sound. Making it richer and more complex.
This project overall took around 3 weeks to finish until it went into it’s final mix, which took around 3 days. I felt extremely proud of this piece of work, as it felt as though I had truly spilt my passion into the film. During my placement I have found that it is rare to be able to connect to a project emotionally; which can be restricting from an artistic point of view. Whether this be down to lack of time, budgets, lack of direction from directors or even not having the final picture to work with. However, Angel’s on Oxford Street really ticked all the right boxes; allowing me to be as expressive and complex with my art. Finally, I felt a real connection to the film’s context and morals.
Amazingly, the charity ‘The Big Issue’ has since got behind this film which will help with funding – meaning it can be sent to a variation of film festivals around the world. Including ‘Sun Dance Film Festival’ and potentially the BFI. Which holds so much positivity for the future and where the movie can go.
This picture was taken at the first private screening of the movie in Soho. It was the first time I had ever heard my work in a public cinema, which was incredible!
Frameless is the largest permanent multi-sensory experience in the world. It is a public gallery, based in Marble Arch where their concept is taking original paintings and turning them into immersive experiences.
Here I was asked to create an ambisonic sound design for Van Gough’s ‘The Starry Night’ painting. Ambisonics requires a lot of complex work making the sound move around a space. Although I had touched upon this before this was generally something quite new to me – I had to consider the space and the sonic movement of the piece.
The painting is one of the van Gough’s most famous pieces of work. I felt an enormous responsibility to get the sound just right. I began by studying the painting and where it was set, as this would affect the logical sonic environment massively; making sure everything was historically accurate and environmentally correct. Alongside this, I researched the meaning and context behind the painting. Studying how what I would need to match the mood behind the portrait.
At first, I found that I had made too complex a sound design. My work was far too rich and distracting to the viewer. Taking them away from the painting itself. During this process, I learnt that it is always important to understand a hierarchy of importance to the viewer in any area of sound design… For example, when creating a movie soundtrack, it is crucial to know when to pull back – leaving moments for the screen and vice versa. I discovered that the sound should only accompany the painting and leave as much artistic space for the viewer as possible! Space to interpret the painting as its own. My sound should never force feeling on people, instead leave them to think!
I found this process so interesting! Despite feeling a huge responsibility towards the legacy of the piece… less is sometimes more! My sound design was eventually mixed into the space and is now being shown at Frameless in Marble Arch! Which makes me so proud. I learnt to take a step back from the “complex”, and it achieved results!
Today was my first day on placement! Despite the nerves, I was overwhelmed with excitement! I was asked to assist a recording session for a charity Christmas album, at Abbey Road Studios. This was an unusual day’s task in comparison to the rest of my placement; my usual roles are typically concentrated on film and television. Nevertheless, this change presented itself as a new and exciting challenge that excited me!
Attending Abbey Road itself was incredibly thrilling; having held such an enormous reputation and sense of fame over the years. However, I knew that I had to uphold a sense of professionalism, to get the task done efficiently. It was easy to become overwhelmed and distracted by everything that was happening around the studio, which meant I had to stay focused and committed to my jobs ahead.
During my day’s work, I assisted both the recorder and director of the session with fetching equipment, cables, microphones, and music scores. Although at first glance – trivial, I knew that my orderliness would affect the efficiency and timing of the session. Upon reflection, when recording at such a busy, high-demand studio, time is a precious thing for both the artist and the staff. I found that organization throughout the day was one of the most useful tools to carry. It taught me the sheer pressure you are under when it comes to time. I quickly recognised that creative freedom is not as encouraged as I previously thought!
Overall, I loved my day working at Abbey Road; a slight dream came true. I gained an enormous understanding of the reality and efficiency towards the music industry and recording sessions. The logistics and misconceptions behind how an artist records music for an album!
Here is my original idea for a virtual reality world. To begin with we all opted to keep the project independent by having our own areas to produce graphics and sounds after first choosing our respective worlds. But as the project advanced, we quickly discovered how much work it would require to finish it within the allotted time. To address this, we attempted to separate the graphics into two parts and pay close attention to the sonics.
Landscape:
I want the landscape to be set in a huge forest with abnormally large trees. influenced by Rockerfella Forest – California The intention of the piece is to make the player feel so small almost as if it was taken from the POV of an ant. The trees should tower up so high that you can’t see the ends and the trunks should be 10 times larger than any average tree.
Within the world, it must highlight the beauty of nature by incorporating idyllic sunlight that shines horizontally on the trees. If possible I would like to include fireflies within the piece and birds so large that you almost feel threatened.
Mood:
The purpose of this virtual reality is to continue the argument of how technology I blinding us away from nature. When you are walking around the world I would like it to bring a calm presence but a very lonely feeling. The intention is to make the player feel extremely small but in a comforting way where you can admire nature from a new perspective; looking at everything from a larger scale.
Type of play:
There will be no purpose to this game except to explore the world. However, to create excitement I would like to incorporate giant shadows and the rustling of trees from above; all with the intention of suggesting that something giant is around you. There could be small ads such as picking up grass or plants however the main intention is to admire the beauty.
A game’s ambient sound is essential for creating the mood and engrossing players in the game’s universe. These sounds must be straightforward but powerful to avoid overwhelming the gameplay or detracting from the essential experience. The ambient sounds help to the overall cohesion and heighten the immersion by remaining true to the game’s aesthetic. The overall gameplay experience is enhanced by expertly created ambient noises that conjure feelings, give players a sense of place, and help them engage with the game environment on a deeper level. I made sure to adhere to these aesthetic principles and leave room for the reader to form their judgement and feelings.
Overall, I found it enjoyable to combine my art with various media, such games and virtual reality. For individual sound designers, working on projects for other platforms, such as video games, can be quite useful. By collaborating with game developers, it is possible to advance the boundaries of sound design and music composition. It offers tremendous opportunities to enhance storytelling, create immersive experiences, and engage a bigger audience, expanding the artist’s portfolio and fostering professional growth. I learned the scope of the sonic work that goes into creating this, and even though in retrospect I think as a group we could have managed our time management more effectively within creating sounds, I was able to develop a general aesthetic without hindrance to story line or in-depth contextual reference, unlike film and television. Despite visual limitations, I believed that the music could be as free and lively as possible, providing a space that was open to artistic expression.
