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Tag: sound for screen

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DPS 2024

Angels On Oxford Street

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! 

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Contemporary Issues In Sound Art Second Year

Noise Music – Meditative effects:

Examples of noise have been used for years within the avant guard sonic community. From John Cage’s ‘Oceans of Sound’ to Florian Hecker’s ‘Event Stream Objective’ reverberation has formed its genre of sonic auditory sound. Our ability to perceive sound is significantly influenced by noise music and reverberation. Noise music can provoke strong emotions and change our mood due to its rough and chaotic noises. Some listeners may feel uneasy or uncomfortable as a result, while others may find it freeing and energising.

On the other hand, reverb is the continuation of sound in space after the sound source has ended, which can improve the quality of music and speech by giving the sound more depth and richness. Additionally, it might provide the impression that the listener is immersed in the sound and space.

I believe Noise music can become meditative and create an extreme amount of emotional auditory space for people to reflect. For this reason, I chose to work with reverberation within sound for some screen work I have recently been working on. I felt this emotional room within the sonic would allow a place for the viewer to connect stronger towards what is happening on screen.

Overall, reverberations meditative characteristics worked extremely well with my sound for screen and I will continue to use this in future work.

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Second Year Sound for Screen

Blog Post 6 Tarskvsky – Boiling Point – Sound For Screen:

“If only we could learn to listen to the world in the right way, its sounds could become all the music that cinema will ever need”

Tarkovsky’s approach to realism paved the way for sound for a screen that we still see and hear today. His heavy use of only foley creates realistic soundscapes. He believed that music over the screen was wrong and false. He stated, “I do not need ordinary film music. I cannot stand it, and I do my utmost to escape it …”. 

Despite some viewers finding his work a more stripped-back approach, it provides audible space for understanding and thought-provoking moments on screen. Music is used as escapism within the screen. Often used to highlight certain emotions within the context of the movie or help narrate characteristics. However, when this is taken away we are left with no audible instruction but ‘realism’. With no music to tell us how to feel it can in some cases create deeper and more thought-proven effects on a storyline. When humans are left in silence to think by themselves, deeper emotions appear. Tarkovsky wanted the audience to “connect their meanings”.

A modern example of Tarkovsky’s approach to sound for the screen is sound is Philip Barantini’s ‘Boiling Point’ starring Stephan Graham. Sound composed by Aaron May and David Ridley uses a one-shot film with no music and only foley sound effects. The foley is not exaggerated and instead mixed to realistic levels. Throughout the film, the sound feels as if it has been completely left to its natural form; meaning there are no special effects or EQ added. This continues throughout the entirety of the film which brings an almost immersive experience. The camera angles used in a Point of View from the sound match this entirely well. Leaving an utterly pragmatic effect as if the viewer was there within the story.

I believe this approach matches Trakovsky’s aims and approaches to cinema and creates an all-round authentic piece of work.

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Second Year Sound for Screen

Blog Post 5 Peaky Blinders – Use Of Music – Sound For Screen :

Despite not using music within my piece I found myself drawn to examples of anachronisms within sound for the screen. Peaky Blinders does this superbly with 6 seasons, the series weaves in a modern-day playlist all used well to set a scene. Although it is not factually correct to the 1930’s chic timeline, the contrast becomes extremely effective. 

Nick Cave’s ‘Red Right Hand’ song, famously used for the introduction, is also a recurring motif for the series; making it instantly memorable and reactive to the listener whenever it is heard. Famous pop songs are also used to become instantly recognisable and in touch with the viewer.

Visually the series leaves no ambiguity to the viewer of when it is set. With bold obvious costumes and sets, it is unnecessary for music to document a timeline. Modern music completely contrasts the aesthetics used on screen and brings a new modern level of style. However despite contrasting the aesthetics, thematically it does not. Throughout peaky blinders, you see continuous themes of modern-day morality and justice. Signs of equality through the race, ability, sexuality and gender are heartbeats throughout the series. Unusual to the time it’s set these modern-day mindsets of certain characters become fitting to the modern-day songs that are played throughout; matching themes within the songs. In contrast to Tarkovsky’s style of realism and truth; anachronisms break genre boundaries and paint themselves a new stylistic and relatable aesthetic. Society connects itself through music and song. It can be noticed that the viewer relates themselves to the screen because of this; becoming more effective than another style of music and sound techniques.

I hope to use this if I ever get the chance to work on period pieces as I truly believe that certain styles it can be extremely effective and work well.

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Second Year Sound for Screen

Blog Post 4 We Need To Talk About Kevin – Sound Effects – Sound For Screen:

  Although I strongly value the importance of soundtracking within screen composition, I don’t personally often use this method myself. My approach to sound for screen consists of a variety of techniques. However, as I have developed the work I have found for serious pieces such as ‘We Need To Talk About Kevin’ music does not support the director’s intentions. Lynn Ramsey’s deliberate focus on the vulgarity of Kevin’s crimes on screen makes me feel that music juxtaposes the honest effect Ramsey is trying to portray. Music does provide a layer of beauty to a scene, however with coarse serious work such as this, it takes the viewer away from the scene. With uncomfortable shots and recurring motifs of blood, the film portrays difficult senses for the viewer. Soundtracks within the score detach the viewer from the severity of the scene. Finally, Lynne Ramsay’s work is filmed from a constant POV (Point Of View) from the mother. Soundtracks subtly tell the viewer where the point of view is taken. Music almost provides an Acousmêtre effect so it is undeniable that soundtracks create added value.

Despite this, I have chosen to create my score on a layer of multiple sound effects and field recordings edited to create its own type of score. With different effects added, mixed and sounds that represent certain themes layered together; the score builds a fabric for an intense sonic atmosphere. 

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Second Year Sound for Screen

Blog Post 3: We Need To Talk About Kevin – Sound For Screen

I decided to choose We Need To Talk About Kevin as Lynne Ramsey’s reoccurring themes throughout the film spoke to me. The perception in which the film is written and shot is entirely from the mother’s point of view. Eva’s isolation throughout the film is a constant heartbeat; with her husband not trusting her, and general isolation with struggles towards motherhood. I found this an interesting concept and something I would definitely like to focus my work on throughout my sound. Throughout the movie, there are many references towards the juxtaposition between an ‘American dream’ mundane lifestyle and the hellish reality of what’s going on internally and physically after the tragedy. I will incorporate this into the sounds I decide to use as I also believe it elevates those themes of isolation and loneliness. With the use of flashbacks and foreshadowing by Lynne Ramsey, I feel that this is necessary to use within the sound. Voice audio taken from Kevin as a child will be played around with and threaded into the sound I will produce. The vulgar visuals and red motifs within the film highlight the brutality of Kevin’s crimes; purposely supposed to evoke an uncomfortable response. In reaction to this, I will try to incorporate exaggerated foley sounds that represent blood and gore. I hope to create an unsettling feeling and sense of uncomfortableness through my sound to mirror the message shown on screen. 

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Second Year Sound for Screen

Blog Post 2: We Need To Talk About Kevin – Sound For Screen

As I have continued composing my piece I have found myself using sections of silence for dramatic effect.

Inspired by Oriol Tarragó’s work in ‘The Impossible’ (2012), I found his use of silence during shocking and vulgar scenes only become more powerful when the music was playing. It gave the viewer time to hone in on the visuals and reflect on the seriousness of what was happening on screen.

During scenes from La Tomatina festival, I felt that segments of silence could prove very powerful. The juxtaposition of chaos shown in the scene contrasts the silence well and provokes time for the development of an emotional tone. Silence brings a sense of severity with this mirror with the exciting visuals it creates an extremely ambiguous setting. Despite the scene from La Tomatina being a happy stress-free memory for the mother as a use of foreshadowing I wanted to incorporate sound that indicates a distressing harrowing side to life; indicating her future. The ambiguity of contrasted sound grabs the viewer’s attention by telling them that this isn’t shown for exciting and happy effects. 

Finally, with Lynne Ramsay directing the entire film from the mother’s point of view, silence subtly tells the viewer that we are seeing this from her eyes. It takes away Tarskovksy sense of realism as I feel this only brings a godlike point of view within the film. 

I enjoyed playing around with silence for its powerful and unremarked effect and I hope to use this in the future. As I have continued composing my piece I have found myself using sections of silence for dramatic effect.

Inspired by Oriol Tarragó’s work in ‘The Impossible’ (2012), I found his use of silence during shocking and vulgar scenes only become more powerful when the music was playing. It gave the viewer time to hone in on the visuals and reflect on the seriousness of what was happening on screen.

During scenes from the La Tomatina festival, I felt that segments of silence could prove very powerful. The juxtaposition of chaos shown in the scene contrasts the silence well and provokes time for the development of an emotional tone. Silence brings a sense of severity with this mirror with the exciting visuals it creates an extremely ambiguous setting. Despite the scene from La Tomatina being a happy stress-free memory for the mother as a use of foreshadowing I wanted to incorporate sound that indicates a distressing harrowing side to life; indicating her future. The ambiguity of contrasted sound grabs the viewer’s attention by telling them that this isn’t shown for exciting and happy effects. 

Finally, with Lynne Ramsay directing the entire film from the mother’s point of view, silence subtly tells the viewer that we are seeing this from her eyes. It takes away Tarskovksy sense of realism as I feel this only brings a godlike point of view within the film. 

I enjoyed playing around with silence for its powerful and unremarked effect and I hope to use this in the future. 

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Second Year Sound for Screen

Blog Post 7: Volker Bertleman – Sound For Screen

Volker Bartleman – sound searcher – synthesisers – modern sounds – German techno – relatable – universal – relevant – recurring motif – shocking – alert – new – the fresh – second version of the film – a combination of classical and modern 

Volker Bertleman identifies himself as a ‘sound searcher’. His scoring for the new 2022 version of ‘All Quiet on The Western Front’ shows his ability to represent modern-day themes in a  soundtrack focused on past events. It is often difficult to create updated versions of classics. However, Netflix’s version of the movie proved to be highly successful with an artistic approach to representing the vulgar truth.

Despite this film showing historical events from the WW1 German frontline, this modern remake cleverly shows this with an even more fresh style than before. Volker Bertleman uses a combined mixture between synthesisers and classical scoring to weave together the combined themes of the modern day and the historical past. The clever connection between old-school musical techniques and current electrical sound scoring highlights how dated stories still live on through modern themes today. 

His unique and attention-grabbing sounds through electronic noise are a symbolic reacquiring motif throughout. They quickly alert the listener taking them out of the comfort zone of a classical moving score. The sounds are abrupt and unexpected which cleverly narrate danger and destruction are approaching. The suddenness from the electric synthesised noise reflects the abruption constantly shown throughout the film through explosions on the battlefield. Every time this same sound is played death is shown on screen; highlighting how common it was and still is in high-conflict wars.

Despite his incorporating modern-day electronic sounds which are factually incorrect to the times in which are presented. This makes the score relevant and responsive to modern-day listeners/viewers. War is a constant theme still in today’s society and Volker Bertleman’s modern scoring techniques highlight this. The use of contemporary sound effects reflects a connection to modern-day society making the themes on screen admissible and more believable.

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Second Year Sound for Screen

Blog 10 – Mathew Herbert ‘The Wonder’ Sound For Screen:

Music concrete – a collage of sounds – use of voice edited- ethereal – recurring motif – distortion – one woman’s voice through – woman power and the powerful connection to god- ethereal – “calling” delusional – recurring motif – calling from god. Reverb a collage of voices – themes of disassociation – hallucination, death, and women’s power. Maternal themes – all non-diagetic –

After recently watching the new Netflix movie ‘The Wonder’, I grew a strong insightful connection to Mathew Herbert’s soundtrack and Techniques. His ethereal score shows strong uses of musique concrète throughout. Certain recordings are layered together to create a collage of different sounds which work extremely well in making a timeless and effective piece.

The movie presents strong connections to religion and God, with running themes of maternal instinct, hunger and disassociation. Despite techniques of ‘musique conctrete’ the constant use of voice also becomes a heartbeat for an immortal and ageless piece of sound; similar to themes shown on screen such as religion. Sounds taken from a woman singing are used as a recurring motif to foreshadow motherly power throughout the entire film.

Within the film, the little girl is going to die from hunger but believes God will save her until she realises that ‘Mrs Lib’ the lady that nursed her is her saviour and rescues her forever. The repetitiveness of a woman’s voice foreshadows how female motherly instinct becomes her God and is always present throughout the film; overpowering any religious beliefs.

Despite the film being set in rural Ireland; Location becomes a trivial point to the movie. Themes throughout show how the power of religion and motherhood override their surroundings; resulting in them running away to Australia. I believe that Herbert represented this beautifully within the soundtrack. It could have been easy and extremely narrative to create a traditional Irish folk-sounding score. However the entire score is non-diegetic and non-suggestive of location, or time; much like how religion and motherhood are not relevant to place or time. With the use of voice, musique concrete, and distortion, they all collage together to create a un earthly and ageless atmosphere. The sound within the film creates a celestial soundtrack as if it can not be placed on Earth; cleverly linking to the themes throughout the film.

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Second Year Sound for Screen

Blog Post 9 sound for screen:

A common technique used within sound for music is when the lyrics are used to foreshadow certain elements of what is going to happen on screen. Lyrics can be a powerful use of foreshadowing and I have chosen to use this within my work. Despite the viewer connecting the music to the scene automatically when we listen to music, we connect to the lyrics with the song. I found that this was a more subtle version of foreshadowing within the work without it becoming too overpowering for the viewer. 

The song I decide to use within my opening scene is a song named‘ Bow and Arrow’ by Kacey Johansing. Later in the film, Kevin used a bow and arrow to kill many of his victims at the school. Despite the obvious connection between the object, the metaphorical meaning behind the song is being unable to connect and discuss whose fact that is. These are recurring themes within the film; linking to the troubles of motherhood, and blame for Kevin’s behaviour. I felt that the lyrics of this song connect to deep levels of the movie without being entirely obvious and cliché within the links. Indirect foreshadowing leaves ambiguity for the viewer; leaving space for self-reflection and prediction.

Lyrics within the music can bring so much added value to a scene by narrating certain themes however they’re and strong and successful way to foreshadow events within the movie subtly and stylistically.