I’m cutting BGs (a.k.a. backgrounds, ambiences, atmospheres) on a film right now and looked over some advice I got years ago from a veteran editor. I’ll share some of it with you all here 🔊🧵
• Think of sounds for transitions, and how to define small changes in space (bottom of cliff vs top). Think of contrasts, e.g. temperature, size of space, mood.
• Play perspective and scene transitions with a punctuation, something big to get into the next scene. Punch cuts for effect using dynamic range (explosion on the cut etc.). Think outside of the box too, think in abstracts, nonliteral elements.
• Mark things with BGs: mark location and character, and use fresh perspectives to sell a new space when possible. Comment on the action with specific reactions in the environment, e.g. an animal vocal, a fly, crowd.
• Look for gaps in dialogue to place specifics, but don’t be overt by filling only the gaps; smooth in & out. Always look for opportunities in case something has room to be used in the mix. For long dialogue scenes, support without trying to take over. The story is the dialogue.
• Match natural wind with specific movements like wind in grass, leaves, cloth, etc. materials. Keep the air present too. Sneak in gusts and things for cause-and-effect thinking.
• Research appropriate birds and insects, if applicable. You can pitch things like insects (growing faster or slower) to achieve tension.
• Rain and fast moving water: very easy to sound like fried eggs! e.g. for waterfall put in a track of gurgle water like a small creek to keep it from being white noise hissy. Rain too, add something splashier. Drips on a separate track give the mixer flexibility.
• With rhythmic BG elements you can vary the pace (shrink or expand) to manipulate tension. Less is more sometimes, and the space of less sounds can be a powerful tool.
end 🧵!
BGs can be time consuming, but I enjoy sleuthing around the sound library for the perfect specifics and transitions, and thinking outside the box about what is NOT on screen but could be part of my toolbox.
Probably my #1 tool when cutting BGs is to play the scene with all my layers while selectively muting one then another then another, shuffling through them. This shows my ears what each layer is contributing—or not! I eliminate or replace anything that's not pulling its weight.
I've also paid attention to how re-recording mixers EQ on the predub stage, so I can replicate during editing and save them time. Stuff like filtering out super lows and super highs, removing weight and hiss from sub-par recordings. Pare right to the character of the sound.
Lastly, I had to teach myself to think in terms of filling a theater, even when cutting the "plain air" predub. A rookie mistake I see often is to only provide one or two stereo options. What if one of those sucks in the big room?? 1/2
The next level up is to understand how the surround speakers feel vs the sides and fronts and choose specific frequency ranges based on what will sit well where. This comes with experience!
Ultimately, a happy mixer is one who can do their best creative work. 💙 2/2
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I’m going to rethread over this older thread with specifics about how I approached the initial sound design and FX organizational workflow for #Encanto. We had four sound effects editors, plus me and one assistant. Just me designing sounds. 🧵 1/?
First watch, I gathered character names, relationships, gifts, and listed out design elements like candle and door magic, casita stress/cracks, animals, ambience ideas, where and how often things repeated (e.g. casita formation in opening and ending). 2/?
I also note my feelings about the themes, character arc, narrative shape, setting, and focal points of the story, because story needs to be my core focus from the start. This will inform the aesthetic direction and also where I spend my and my team’s energy most efficiently. 3/?
This explosion recording day was for War Horse. World War I is a time period that not very many living people have actually HEARD. This gave the sound designer and editors some liberty to be interpretive and nonliteral with some of the war environment, guns, vehicles, etc.
We tried various things with the liquid nitrogen, which all had very different qualities. When sealed in a plastic jug, it will eventually explode (or implode a trash bin). We tried different sized jugs… and different material cans.
We don’t always have the time or budget to collect many new/unique sounds for every film, esp. on Marvel projects which are so busy. We also may not know what we need until a visual effect shows up, or we learn that something cut/designed isn’t working.
Ideally, we put together a recording wish list at the very start of the project. These are sounds we don’t have in the library, or have but want better recordings of/variations of, or textures & components to use for designing.
I love recording funny sounds. Baymax’s squeaky body was a yoga ball I sat on at work (good for spine!). There are so many ways to perform a squeaky prop. I manipulated every phrase I could out of it. Fast, slow, rhythmic, impacty. It had a nice resonant “inflated” feel.
A lot of humor both visual and sonic comes from rhythm and pacing. (Sometimes in writing too!) A squeak in just the right moment, or a beat of silence so the next sound has more impact. Play with expectations.
Long #sounddesign thread! First half will be obvious stuff to people in #filmsound#audiopost#postproduction, but maybe interesting to outsiders. Second half is about rhythm and the importance of silence.
Viewers often think all sound is recorded magically on set. Nope! 90% of the sound is added in during post production. Ambiences, crowds, foley (footsteps, props, cloth movement), sound effects. Not just for films with lots of visual effects.
The focus of on-set recording is to capture clean dialogue, and often even that may be replaced later if it’s too noisy, the line needs to be changed, or director wants a different performance.