Sound Person's Journal

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Ashamae Swyer

Sound Persons Journal


This year I once again took on the role of Sound Person for the entirety of the
course, with guidance from my groups Director, Danielle Conneely. As Sound
Person, my role involved imputing any pre-recorded diegetic and non-diegetic
sounds (i.e. score music, ambient sound) into the film, correcting any issues
with clip audio, recording additional audio from the actors (i.e. voice overs and
dubs). The role of Sound Person had a lot of bearing on the final grade of the
short film, as the sounds used are carefully selected in terms of significance to
the film, pace, and even the instruments present (specifically score music).
With these factors in mind, I felt that I was suitable for this role due to the
experience I gained in the previous year, so I felt confident that I could
perform to the best of my ability in this role. Due to my previous experience, I
was also able to pick up on subtle errors and be able to correct them. I also
acknowledge the importance that sound has on a filmed product and how it
can either immensely improve the quality of a film, or make it appear more
amateur. As I had taken on the role of Editor in addition, the two roles
complimented each other greatly.
When filming began, I closely analysed the script from an audio perspective
and listened to many sounds to gain an idea of what would be appropriate for
each scene, and even each shot. I then began collating the sounds that I felt
would create the right emotions that are being presented in the scenes. Prior
to imputing any audio in the first draft of the short film, I reviewed the collated
sounds with the director, who provided her opinion and offered guidance on
sounds that would create the right effects. Eventually we came to agreement
and I was able to begin imputing and editing sounds for the first draft.
During the process of correcting the audio, I found some issues with the audio
within some shots that made up Scene 3, as the weather was quite windy on
the filming day, causing the background noise to drown out the actresss
dialogue. To combat this, I rehearsed the necessary lines with the actress and
eventually recorded her as she recited the lines to use as a dub over the
original dialogue. However, I found much difficulty with synchronising the
dubbed-over dialogue to the original, so as a solution I fixed the levels of the
background noise to reduce it and make the dialogue more prominent.
For the background music during the beginning of the first Scene, I used an
instrumental piano cover of Sugar (Maroon 5) by YouTube user
0AdRiaNleE0. I cropped the first four chords that preceded the first verse in
the song, as they are played softly and added a sense of femininity to the
scene, while bringing the theme of love to the forefront. For the rest of the first
Scene and the rest of the short film, I used another instrumental piano cover

Ashamae Swyer
of Chasing Cars (Snow Patrol) by YouTube user Uwe der Groe, which on
its own is a very emotional song about the struggles of a relationship,
therefore I felt it fitted our short film perfectly. Much like the previous scene,
the piano starts softly and picks up momentum during the choruses. To
heighten the emotion during the flashback sequence, I aligned the audio in
such a way that the chorus would begin at the same time as the sequence, as
a way of bringing important parts of the plot forward to the audience.
Throughout the course, I have gained a more profound understanding of the
significance of audio and the impact that high quality audio can have on the
film, when executed appropriately. I thoroughly enjoyed learning more about
my role during the process of editing the sound, and I feel that I have gained
invaluable knowledge that could help me in the future.

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