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Sound annotation for Project #1.

Unit 13 Rough foley list. All sound in order of mention in script.

KEY:

(F) Foley Creation.

(S) Record on-set

(E) Electronically sourced.

Scene 1 - Outside of car - Day/Ext.

(S) Basic background sounds - wind, birds, people walking past.

(S/F) Car pulling away - Asphalt.

(E) ‘Should I stay or should I go?’ - The Clash - Radio.

Scene 2 - Inside of car - Day/Int.

(F/S) Interior car sound.

(F) Hum of air con?

(F/S/E) Radio in background - “Should I stay or should I go?”

Scene 3 - Outside of Jenny’s house - Day/Ext.

(S) Car pulling up - Asphalt.

Scene 4 - Inside Jenny’s house - Day/Int.

(F) Clothes being put in bag.

(E) Unspecified 80’s music.

(F/S) Footsteps over to window? - Carpet.

(F/S) Window opening - with latch/lock is applicable.

(F) Car horn from outside the building.

Scene 5 - Outside of Chris’s car - Day/Ext.

(S) Chris calling out.

Scene 6 - Inside Jenny’s house - Day/Int.

(E) Radio playing unspecified 80’s songs.

Scene 7 - Inside of Chris’s car - Day/Int.

(S) Laughter

Scene 8 - Jenny’s bedroom - Day/Int.

(S) Footsteps over to radio - Carpet.

(F) Radio knob being turned to ‘of’ position.

(F) Footsteps back over to window - Carpet.

(F) Footsteps out of the room and down stairs - Carpet.

(F) Footsteps to front door - Carpet.

Scene 8 - Jenny’s bedroom - Day/Int.

(F/S) Front door opening.

(S) Step out of front door - Pavement/Asphalt.

(S) Shut front door - locks and any chains.

(S/F) Footsteps to car - pavement/Asphalt.

(S) Boot opening - handle/locks and boot rising sound.

(F) Putting bag in back - rustle of material/banging of heavy belongings.

(S) Closing of boot - Boot door lowering, locks clicking, small bang?

(F/S) Footsteps to car door - Asphalt.

(S) Car door opening.

(F) Jenny getting into the seat.

(S) Car door closing.

(F) Seatbelt being done up.

Scene 9 - Chris’s car - Day/Int.

(F/S) Car pulling away - Asphalt.

(F) Wind/buffeting sounds outside car/engine sounds.

(S) Laughter

Scene 10 - Chris’s car - Day/Int.

(F) Wind/buffeting sounds outside car/engine sounds.

Scene 11 - Chris’s car - Day/Int.

(F) Dial turning on radio.

(E) Unspecified 80’s music.

(F) Wind/buffeting sounds outside car/engine sounds.

Scene 12 - Road - Day/Ext.

(F) Cat walking into road - padding sounds.

Scene 13 - Chris’s car - Day/Int.

(F) Wind/buffeting sounds outside car/engine sounds.

Scene 14 - Chris’s car - Day/Int.

(F) Wind/buffeting sounds outside car/engine sounds.

(S/F) Sharp braking.

(S) Shock - heavy breathing ect.

(F) Swallowing sound.

(F) Throat clearing.

Scene 15 - Outside of Chris’s Car - Day/Ext.

(F/S) Car pulling away - Asphalt.

Scene 16 - Outside Amanda’s house - Day/Ext.

(F) Watch ticking.

(F) Horn beep.

(F/S) Car pulling up - Asphalt.

(S) Boot opening

(F) Bag of clothes and heavy belongings being placed in boot.

(F) Boot shutting.

(F) Footsteps to car door - Asphalt.

(S) Car door opening.

(F) Amanda getting in.

(S) Car door shutting.

(F) Seat belt?

END

[beckiewilliamsciblog-blog]

Final sound annotation for project #2.

Unit 13

Foley List

All Foley in order of mention in script.

KEY: 

F=Foley creation.

S=Record on-set

E=Electronically sourced

Scene 1: A table - Int/Day.

(F) Glass being picked up.

(S) Shaking glass moving in hand.

(S/F) Fiddling with clothes - loosening tie, undoing buttons.)

(S) Picks case up from wooden floor.

(S) Places case on table.

(S/F) Unlocks Case.

(S) Checks contents.

(S/F) Knock at door - Wooden.

(F) Door swings open - squeaky hinges?

(S) Sir walking - wooden floor - shoe type?

(S) Chair scraping over floor - metal on wood.

(S) Chair being sat in.

(S) Chair being moved closer to table? - metal on wood.

Scene 2: Table - Int/Day.

(S/E) ‘Awkward’ silence - ambient room tone, clock ticking?

(S/E) Leaning forward in chair - squeak?

(S/E) Leaning back in chair - squeak?

(S) Picking up glass.

(F) Sipping water.

(S) Setting glass down.

(F) Reaching into pocket.

(S) Taking out cigar and lighter.

(F/E) Clicking of lighter

(F) Puffing of breath to light cigar.

(F) Sitting up straight in chair.

(S) Breifcase passed over table - pushed or carried through air?

(S) If pushed, scrapping of hinges.

(S) Opening of lock mechanism.

(S) Opening of lid of case.

(S) Check contents.

(S) Pick up jug of water.

(S) Footsteps of two goons.

(S) David being pinned to chair.

(S) Chair scraping and moving.

(S/F) David struggling, rustling of clothes.

(S/F) Rustle of pockets as cigar cutter fetched.

(S) Cigar cutter circling fine

(F) Crunching, ripping sounds.

(S) Footsteps - 3 pairs - wooden floor - shoe type = multiple.

[beckiewilliamsciblog-blog]

Survey.

Survey - https://www.surveymonkey.com/collect/?sm=Qag9wO4F3OlUcmJz0ukeECdOLcp_2FKT4UCDzChdZ_2Bo0TUOvPz_2B4uQPwvI69p7dd6u This is a survey I created to get a picture of what audiences expect from torture scenes, like the one we intend on creating for our final major project. The way I get answers from his survey was to post it onto a site called Quotev - this is a site for online authors of which I am a member, and with over 500 followers on this site I felt like this was the best way to get results for my survey, as a lot more people would see it and wan to take it.   The first question is age related. I set out some standard age brackets for people to select to get a general idea of how old they are, as the age of people watching these films may change their perception of what they wan to see, and their tolerance of violence in films. 66% of people selected the ‘19 - 26′ category, and 33% of people selected the ‘0 - 18′ category, and this shows me that I have a relatively young audience. I didn’t expect thing young of an audience to respond, I expect a more mature audience as this would be the generation that grew up with the ‘Saw’ films, and the ‘James Bond’ films, that started this kind of violence on movies, so i is interesting to see such a young audience. To allow the clear audience to connect with the characters, we selected relatively young actors, so that the audience feel that they connected with them. The second question asked for the participants gender. Although you would not think that such a factor affects sound, it does, because typical movies made with a core target audience of men tend to have much more gritty sounds, and make use of the silence between spoken words, whereas movies with a typically female core audience tend to have a lot o pretty background music, something to lighten the tone of a dark scene, inspiring music, themes that will take some of the  worry away from the viewer. One surprising factor was that 100% of my participants were female, although his is the risk I take when I post in on a website such as Quotev, where you do not have to publicly state your gender. The third question was about their employment status. The reason I asked this was to try and gain a better idea of what social class these people fit into. Of course, employment in teenagers and young adults does not always guarantee what kind of background they come from as it may just be a job to fund their studies, but this plus their age and gender can indicate a classes, and therefore a core audience I can base everything on. Of the responses I got, most were part some store jobs - cashiers, retail assistants/workers, ect. I did get a few responses stating that hey were unemployed, and one simply saying student. As hey did not elaborate I cannot assume what the cause of the unemployment is and therefore I cannot gauge their education status, leading me to believe some of them will fall into wither the E or D category. The student category neither states what they are studying or at what level, so again it is hard to judge, but generally students are of a C2 to B satus. This leads me to believe, that with the part time jobs thrown in there as well, and the age range present in the previous question, that my core audience would be C2′s and C1′s, with an extended audience of D’s and B’s. The forth topic I inquired about what the persons taste in music. This is to get an idea if the kind of music they would enjoy, and therefore the kind of music they would expect in a film, or that would pull them into the film a little more. You can also have a good guess at the kinds of movies they like because of the type of music. 28.57% of people said that Rock was their favorite genre of music, 14.29% said that it was metal, and the same percentage also said rap was their favorite. 42.86% said other, but didn’t specify what. This is a good view into he kinds of movies people might like, because they are unlikely to walk out of a movie with hard rock music in if they’re a rap fan, for instance. What was more surprising about this is that, despite these people all being one gender, and all being in roughly the same age range, there was a larger variation of music tastes, which might also mean they have a wider variation in the kinds of movies that they like, and therefore my core audience might change a little bit, and I have to consider these when picking the background sound for the film, if there is any. The next topic I wanted to know about was what genre of films they enjoyed. Obviously, his will have an impact on whether or not they would be interested in watching some of kind of interrogation scene. 42.86% said action/adventure movies to be their favorite, which is good because most of these movies often have a scene with a villain, and/or some kind of tense, suspenseful scene. 14.29% of people said musics, which was interesting given the genres of music that people seemed to be into, but also indicated that they might not look forward to a suspenseful scene, or one with interrogation in because musicals, from what I know, are generally quite upbeat and happy. Another 42.86% of people selected Science Fiction as their favorite genre, which is great because these are the kinds of people who would be most open to an interrogation scene, considering that most Sci-Fi films will come with some kind of confrontation, either between two protagonists, or between the antagonist and the protagonist. The sixth question was a simple yes or no, would they enjoy a suspenseful scene, to which 100% of the participants selected yes. This is a great sign, as even if they wouldn’t enjoy the confrontation of the scene, they would still enjoy the build up and the tension that i created around it and throughout the rest of the film. The seventh question was another yes or no, asking of the participant enjoyed watching torture/interrogation scenes, giving the example of the James bond one in Casino Royale. 71.43% said that they would’t enjoy watching a scene like this, and  28.57% said they would watch one. Despite fewer people saying that they would enjoy watching one of these, I feel like people would find it more acceptable within the context of a movie. This is becuase in the movie there would be an emotional build up, and there would be more story to get into, as a pose to just sitting own and watching an interrogation scene cold turkey. The final question I posed to the participants was what kinds of sounds they would expect to hear. In nearly every response there was a mention of screams, crying out, or some other verbal response to interrogation or pain, which is one idea I will definitely have to implement. A few other responses mentioned the whir of a drill, or other tools, showing that most people expect there to be some of kind of tool there to give the interrogator leverage, or the victim a reason to speak up. At lotnof these are horror movie tropes, ones you might find in gore films like Saw, which are designed to mske peoples skin crawl and make them physically uncomfortable, and a good move on my part would to include something like this. As our scene is designed to keep people on edge, making sure that the screams, and the tools people expect to be there is incredible important. Another important point mentioned was a lack of background sound, and i feel thats quite important. With the focus on just the two charatcers, and one side character, just their voices, and their footsteps, the audience will be hooked in, listening for anything that will given the game away, and it is definitely something i will take away and use in the peice. To conclude, despite the participants all being of roughly the same age and gender, and roughly the same social class, i have received some very interesting results. It shows me that peoples expectations of sound in scenes just as this are all similar, even with such an open wording, and that tells me that there are certain things i must include. In order to really use this, I am going to look at other films, and compare the results to what I see, I am also going to compare my research to other forms of secondary research, and see if the results line up to get a full picture of what kinds of things i may need to include.

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11/5/2018

 Today we were filming for our final major project. For the first half of the filming session i wasn’t there as I wasn’t informed we were filming from 9am, and I had previously notified them that I had a driving lesson until twelve, just before class was officially due to start.This meant that a classmate had to step in for those few hours, but once I got back I took over.

Before I did so I chatted to the director to get a clear picture of what he wanted to get from that day’s session, and made sure that I checked the equipment over properly. One issue I found with the equipment set up when It was handed over was that the microphone holding was covering part of the actual microphone, as opposed to just the long part that houses the electrical systems. To solve this issue I simply moved them backwards and made sure that the microphone was unobstructed to make sure that we got the clearest quality of sound we possibly could.

Another issue we had was that the walls were fairly thin in the room we were using, and if anyone walked past or even coughed outside, you could hear it on the mic recording as we were using quite a sensitive microphone, so we had to regularly retake scenes or halt filming because of outside issues. Due to he public nature of the corridor outside however, we weren’t able to restrict access or shut it, so we just had to work around it.

All in all, it was a good session, and the sound we got was very good. I made sure I also managed to capture a lot of the sounds I thought I was going to have to Foley, due to the sensitivity of the microphone, like Elliot’s groans of pain, footsteps, and the rustle of the clothing moving about.This means that the sounds will be original to the film, and we won’ have to mach them up in the edit, saving time and money.

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Sound designers - Avengers: Infinity War.

Despite my emotional truama at the end of one of this years best movies, I did manage to find four names amoungst the credits. These people are sound designers for Walt Disney, and for Skywalker Ltd.

Brian Saunders.

Kevin Rosenmaker.

David Farmer.

Nia Henson.

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Filming: Tuesday 24th April

The day started at 9am, when we sat down, wrote out a risk assessment, and took out the pre-booked equipment. At 10am we started the drive down to Wivenhoe. Once we got there, we set up the equipment. 

Before I did anything, I made sure that I checked the directional mic. This involved removing the fluffy covering, known as a ‘dead cat’, and ensuring that the plastic grips that suspend the mic itself in place where over any part of the microphone, or close to it that they would cause interference with the sound recording. Once this was ensured, I put the coverings and the fluffy skin back on, making sure everything was secure. After this, I found the longer connector lead, making sure it was connected both to the microphone and to the camera via thew first mic port. 

Whilst the Camera was being set up, I made sure that the sound was coming from the external directional microphone and not from the internal mic. I did this by putting the first mic port switch to ‘external’, and turning up the volume so that I could actively hear the Mic was working. I would tap on the end of the fluffy coating, where I knew the end of the Mic was, making sure I could hear the taps, and various degrees of spoken word, before turning the sound down to a level that would be acceptable for the actual filming process, that would’t cause any cracking or mis-recording of the sounds we intended to use.  

My aim with this shoot was to make sure I recording as much original, on set sound as I possibly could. This included the car pulling away and pulling up, skidding wheels, the horn beeping and even some dialogue if we got that far. Foley is a great option for sounds that cant be caught, but the best way to catch sounds is on the set, especially when you had a working set like a street, as the structure of the tarmac and scattering of steps won’t be the same, the engine revs won’t be the same - the best way to capture these kinds of sounds in on set. I made sure that, once the |Cameraman and director were happy with the camera shots, we made sure we did a couple of sound takes, to make sure we had plenty of options.

(Include context. perspective - quotes.)

https://www.raindance.org/top-10-donts-of-sound-recording-for-film/

The sounds we recorded on set were:

Car pulling away.

Car pulling up.

Engine revving.

Horn beeping.

Internal car sounds.

(Link to sounds.)

The final sound, the internal car sound, may or may not be used, because it may be dubbed over with the song we plan to use, ‘Should I stay or should I go.’ by The Clash. This will have to dull it down and edit the song slightly to make it sound like it is coming from a radio, we can do this by putting it into audition and carefully stripping away layers until we get the sound we want, or we could record it off of a radio, or a laptop device to get an authentic radio sound.

The problems that we had recording on set, is that there wasn’t enough room in the car whilst they were driving around to have both a cameraman and a sound recordist, which lead to us having to do more takes, one ior more from the camera man to get exactly the shots he wanted, and one for me to make sure we had the car internals just right, or at least some idea of what they would sound like so I could recreate them later on.

Another issue I has is that the director wasn’t very vocal. They didn’t seem terribly bothered about the outcome of the film - either that or they didn’t have a very strong vision, as we were told to just do what we felt was right for the film, but we didn’t have a complete picture of it as the director wasn’t all that passionate about it, so it was hard to gather the right kind of sound. Next time, this could be resolved by making sure that we work with a director who had a complete vision, or a director that knows how to work with other disciplines in the film industry.

One huge issue we faced however, was the wind. The wind is a sound persons worst enemy, especially filming into it as we did on several occasions, as it just distorts and ruins the sound, making it difficult to pick up any kind of usable material, and requiring re-shots at a later date. The wind we experienced on the day wasn’t too bad, and by carefully positioning some of the camera equipment and the cases it came in, we managed to make a few wind blocks that helped, but we still need to pull a little of that wind sound out in the edit, which can be done by using the wild track I also recorded. We can strip that out in audition, and although there will be some distortion left, it won’t be nearly as bad.

We didn’t film any line-specific dialogue in this block of filming, although there was supposed to be some singing along to the radio in the driving scenes. This can be dubbed in, or ignored completely depending on the shots we use, and the decisions we make in the edit. We may choose to have the sound or as a non-diegetic background tone, over having it as a diegetic.

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This is the sound of a car interior, whilst moving between 50 and 70 MPH on a duel carriage way. This could be used to provide the interior background sound during the car driving scenes.

This was recorded during a car journey between Witham and Braintree, and It will need to be refined due to the presence of small blips here and there were the driver opted to start talking to me, and I had to pause the recording temporarily. In the case that we chose to use this kind of sound, I will take a recording system out into a car ride specially for the purpose of recording the sound so that there are no blips or 

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FMP Sound.

16th March 2018

The above video shows me and Michael working together to create the various layers of sound required to produce the sound of a punch to a human body,  including sound effects that might be used in a fight, such as a chair hitting the floor or a body hitting the wall. 

Not only was this an experiment in Foley, but an experiment in layering as well, as there is never just one type of sound behind any kind of Foley. there are two or three different layers of similar sounds that you have to use to give a professional feel to the effect, to give it more depth and more meaning, and make it a more impactful sound, otherwise it will sound weak, and it won’t blend in as effectively as sounds that may have been captured on set.

For this we used a program called Adobe Audition, which allows be to take all of the separate sections of sound and form them into one single sound, which has a lot of depth.

The posotives to this are that this is the in

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FMP 26th Feb - 2nd March.

This week I am focused on completing my final major project proposal, and also the first draft of the script.

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FMP 19th - 23rd Feb.

THIS WEEK: We went over ideas for our film and gave out roles within our group.

My group consists of:

Sound Designer

Art Director/production Designer

Cinematographer

Writer.

Obviously these roles will need to be expanded upon - some will have to take on lighting and editing roles, and some will have to take on director and running roles - we ill all be doing the pre-production specific to our roles, and will share out the rest to make sure we are as prepared as we can be for our shoot.

The idea we have decided on a remake of the short film, ‘Papers, Plase’ created by Nikita Ordynskiy, and based on the game by Lucas Pope. This is a short film, with only a couple of actors on one or two closed sets, which will make an easier setting for a film, but at the same time the subject, time period, costumes, sound and cinematography will provide a challenge that will help us gain a good grade, and an amazing final film.

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Evaluation.

In order to create the kinds of sounds that inspiring me from lord of the rings, I looked at the behind the scenes of the DVD. This showed me how to create some of the sounds i needed. Another reference I used was the game Subnautica - who created underwater animal growls using human vocals, the same idea as Lord of the rings. 

The way i recreated these was to have someone shout into microphone, and I slowed it down by 96.4% on premier pro, which resulted in a low, rumbling, threatening tone that resembles the growl of a lion or a tiger.

Something I think i did well was away the background first, and leveling the pitch to make sure it was a steady sound on adobe audition, but at the same time I wish I had left those pitch variations in there, because it would have made for a more varied and interesting sound.

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PRACTICAL - UNIT 12

https://www.youtube.com/watch?v=drupDIBalGE

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Bibliography

YouTube. (2018). See With Your Ears: Spielberg And Sound Design. [online] Available at: https://www.youtube.com/watch?v=kavxsXhzD48&index=3&list=PLauBCIhQ7LuHYX0hxjMN44gh-D-FGfP2y [Accessed 19 Jan. 2018].

Beggs, R. (2018). Richard Beggs. [online] IMDb. Available at: http://www.imdb.com/name/nm0066740/ [Accessed 15 Jan. 2018].

Soundsonline-forums.com. (2018). Richard Beggs master class - sound design - Soundsonline-Forums. [online] Available at: http://www.soundsonline-forums.com/showthread.php?t=30499[Accessed 15 Jan. 2018].

IMDb. (2018). Harry Potter and the Prisoner of Azkaban (2004). [online] Available at: http://www.imdb.com/title/tt0304141/reviews[Accessed 15 Jan. 2018].

Farmer, D. (2018). David Farmer. [online] IMDb. Available at: http://www.imdb.com/name/nm0267736/ [Accessed 8 Jan. 2018].

YouTube. (2018). The Hobbit: The Desolation of Smaug Extra pt. 1. [online] Available at: https://www.youtube.com/watch?v=l3xc3b5taDg&index=10&list=WL [Accessed 8 Jan. 2018].

(SOURCE:  peta2TV. (2016). Where hermit crabs come from. [Online Video]. 27 June 2016. Available from: https://www.youtube.com/watch?v=PSda2pzAMGA. [Accessed: 1 November 2017].)

(SOURCE:  BBC. (2015). Where hermit crabs come from. [Online Video]. 7 May 2015. Available from: https://www.bbc.co.uk/iplayer/episode/p02n7sc6/shark-episode-1. [Accessed: 12 November 2017].)

(SOURCE: PETA. 2017. The Egg Industry | PETA. [ONLINE] Available at: https://www.peta.org/issues/animals-used-for-food/factory-farming/chickens/egg-industry/. [Accessed 20 November 2017].)

(SOURCE:  Eggs: trade regulations - GOV.UK . 2017. Eggs: trade regulations - GOV.UK . [ONLINE] Available at: https://www.gov.uk/guidance/eggs-trade-regulations. [Accessed 20 November 2017].)

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1st Choice University Interveiw.

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Composing in Sound Design.

CASE STUDY: John Williams.

One element of Sound within movies that many people overlook is the musical score. A good score should be rousing in actions scenes, positive in happy scenes and provoke emotion in sad scenes. 

My case study for such scores is John Williams, the Oscar winning American composer who bought us themes for Star Wars, Harry Potter, Jaws, and many more movies. With 52 Oscar nominations under his belt, and 5 Oscar Wins.

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Sound Design Research

YouTube. (2018). See With Your Ears: Spielberg And Sound Design. [online] Available at: https://www.youtube.com/watch?v=kavxsXhzD48&index=3&list=PLauBCIhQ7LuHYX0hxjMN44gh-D-FGfP2y [Accessed 19 Jan. 2018]. 

This is a video created by NerdWriter1 on Youtube.

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Unit 12 - week 2.

For my specialism i chose to look into Sound production.

Research:

Richard Beggs

Beggs, R. (2018). Richard Beggs. [online] IMDb. Available at: http://www.imdb.com/name/nm0066740/ [Accessed 15 Jan. 2018].

Known for: Children of Men (2006), Apocalypose Now (1979) and Narnia: The Lion, the Witch and the Wardrobe (2005), Harry Potter and the Prisoner of Azkaban (2006).

Current Projects: Suspended Belief.

When researching into Richard Beggs, I’ve found that he prefers to have free reign over the sound design of the movie. he will often opt to have separate tracks for all of the music and the vocals, so that he is free to add reverb and play around with the sound to find the right way to present it.

This is displayed in his work on Harry Potter and the Prisoner of Azkaban. The sound design for this movie fits really well with the picture. From the very first scene, when Harry blows up Aunt Marge, the way that the diegetic and non-diegetic sound makes up the scene is clever. Each scene has the musical make up which gives it its own individuality.

Specific scenes like the Knight Buss scene show this, where the soundtrack is quirky, and the music has a fast, clearly audible beat to it, and making great use of the string instruments such as the violin, and the base drum to make a great, contrasting soundtrack that has a heavy impact. When Stan starts talking about Sirius Black, the jolly sounds drop out of it, and you are left with a low, fast paced tone that has no nigher notes in, and the jarring change between the two makes you uncomfortable, suiting the uncomfortable conversation to follow the change.

Another way that Beggs uses certain instruments and tracks in order to create suspense in a scene is the Great Hall scene, where Dumbledore is giving his start of term speech to the students. The scene starts of with no musical soundtrack, in fact, the only sound giving the scene atmosphere is Dumbledore speaking and the sound of the rain on the roof of the great hall. However, this all changes when Dumbledore warns the students to give the dementors not reason to harm them. This is when a violin and maybe a flute are introduced, but they play very much out of sync with each other, in a tune that is unnerving and unsettling. This could be seen as an effort to jar the viewer, and make them as uncomfortable about the situation as the students and the professor. The rain only leads into this jarring symphony, and it added a sense of unease. However, as soon as Dumbledore’s conversation takes a turn for the friendly side, saying ‘Happiness can be found, even in the darkest of times, if one only remembers to turn on a light’, there is an immediate lift to the tune. It is as though the mention of light has activated the lighter notes of the song, and brings it into a much warmer, full bodied symphony, which settles the viewer for the next scene, as a pose to the stringy, unsettling, whiny tune beforehand.

There are various sound effects unique to the movies that would be possible for me to recreate. In the boggart scene, the whirlwind sound that the boggart creates when changing form would require a lot of experimentation with wind sounds to try and recreate - other sound would be the sound of rain and wind together during the quidditch match, the squeaking of the door the boggart is kept in and whistling of spells through the air in the final few scenes. 

All of these have bases in real world, but all of them will also need tweaking to recreate exactly the sound make in the movies. There isn’t a lot of material on how Beggs created these noises, but one could speculate that there would be have a lot of experimentation with a bank of library noises.

Soundsonline-forums.com. (2018). Richard Beggs master class - sound design - Soundsonline-Forums. [online] Available at: http://www.soundsonline-forums.com/showthread.php?t=30499 [Accessed 15 Jan. 2018]. 

IMDb. (2018). Harry Potter and the Prisoner of Azkaban (2004). [online] Available at: http://www.imdb.com/title/tt0304141/reviews [Accessed 15 Jan. 2018].