Whoooosh

(That’s the sound of time flying)

It’s also the sound that Paul told us to add for scenes where Jack sees the box. After hours of searching high and low, we found the perfect sound effect. We put it in two places. One where the scene only has that sound effect and atmos and another where we have a few layers of music. I think this is an absolutely perfect addition and it really suits the whole sci-fi, supernatural element of our film.

We actually spent a lot of time trying to make sure the sound works. In between trying to get all the visual elements to be as aesthetically pleasing as we possibly could, we ended up with thirty-five audio tracks in Final Cut Pro. I’d not even realised this unti Paul pointed it out the other day. It never occurred to me how much I was scrolling to find certain tracks.

I’m really, really pleased with the sound. We layered SO MANY music tracks and sound effects, but they all seem to work well together. The music and atmospheric tracks that I managed to find, fit the feel of the film so well and they build suspense wherever necessary.

For the grain, we ended up using the Gaussian blur. Paul taught me how to duplicate tracks, apply the blur to the bottom track and a soft light composite mode thingy onto the top track. This worked an absolute treat on the grain. It. Is. So. Pretty.

I had to colour correct some of the scenes because the lighting would change spontaneously. It is annoying because on the same level, there can be a least three different light sources with three different types of bulbs with different colours. I managed to colour correct most of the changes in lighting using the three-way colour corrects BUT, there is this one scene where Jack runs across the car park and through a door to the stairs. It pretty much goes through the whole colour spectrum. I would have attempted to fix this, but there is one crucial panning scene where you can see that the lights change. OH WELL. At least it’ll be obvious enough that the audience will notice that it’s not our fault. IT’S THE LIGHTS’ FAULT.

C

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