calumkenihan-studio

[calumkenihan-studio]

Reflection

| Footprints

After a class review of my works I had a few main suggestions for improvement:

- refine the ending - make it more grand and airy

- keep that bass line rolling

- remove the brassy sound

These were all reasonably easy fixes as I believe the mix was already sitting in a rather strong place. 

Having now completed the project its hard to objectively look back and judge it purely on its inherent ‘goodness’ but I can break down some of the stuff that i really enjoy and some of the stuff I hate

Love:

- the break down in the last 20-30 seconds. The way that this moment ties the rest of the video together is quite fun, it’s not just catchy but also conceptually makes sense. It’s an optimistic reflection of current day and human’s place on this earth. Up to that part in the video it feels like the graphics and sound are exploring what is our history to get us where we are, and the break down are the wheels in motion, present time.

- the new title at the start of the video. this being a new addition it showed me that Putri is finally in a place where she really understands what aesthetic she’s chosen and has a great synergy with the rest of the video

Hate:

- the shaker at 0:53 and 1:15. the sounds sound very weak to me and don’t punch through the mix

- the mix of the subby bass sounds. I’m really shit at mixing bass and I think this is adequate evidence of that

| No Shoes Inside

Feedback from the week:

- push the energy through the climax of the piece - push and maintain

- add more structure with sound at the start/end of visuals

- induce awe at 0:30

After completing these small corrections I noted a really big difference in the impact of the audio. It held my attention consistently and made the eery empty bits all the more impactful

I’m super proud of the way Fiona created this piece - clear communication and a developed vision made my job as the sound designer more enjoyable and much easier

Love:

- the sound that sync with the red and blue flashing - so textural and emphasises the movement on screen really well

- the warped subtle ‘dirty computer’ drone which is in the start of the video - it makes time feel like it’s slowing and pushes that feeling of being inside another reality

Hate:

- some of the guitar string rises and falls. I have a tendency to find over articulated or obvious sound effect choices quite cheesy - but I always tend to choose them

- the very very climax of the piece. I think it’s something to do with the sound mix but for some reason I find the narrative loses energy at that point. Perhaps I’m too close to it

| Couch Potato

Feedback from the week:

- change ending to finish on more of a climax with movement

- set the effects into the video to look less ‘plugin’

Seeing as most of the feedback related back to visuals, my process apart from feeding that to Oliver and monitoring the process was mostly about refining the sound and seeing how outrageous I could make it. Safe to say the whole thing is pretty outrageous. My goal was to take these ACMI assets and make them UNDENIABLY ENGAGING! I do think this video meets that criteria. The success began when I stopped making this creative process about producing something GOOD, and started the DESIGN process to make something ENGAGINGGG.

Love: 

- the undeniable cheesiness of some of the visual choices. I think there’s magic in the text that appears on screen sometimes too - having a video editor who’s first language isn’t english makes for extremely candid and objective robotic like sentences which i think really fitted the theme

- Oliver’s work ethic. He would literally take anything I requested and run with it - credit where credit is due

Hate:

- Some of the colour choices. They all seemed quite obvious and rgb. It would be cool to see the same project with organic and earthy contrasting tones

- the inherent ugliness of some of the sound. I got quite blasé with some of the brutality in the sound to push the concept further. but it resulted in something I really don’t like the sound of some of the time. BUT it does capture my attention and make me feeeel.

[calumkenihan-studio]

| Presentation and reflection on collaborative process

[calumkenihan-studio]

| Old version - adjusted levels and mixed

- This version was sent for feedback to receive ideas to push what was already existing and build further dynamics and texture

- Raised levels of textural static drone between red and blue flashes as there was too much energy lost in the quiet moments

- Ending levels adjusted to make the closure more textural and effect driven rather than musical

| New layers 01 - strings & bass drone

- At 0:23 the rise and drone was extended earlier to anticipate the next scene. Adds dynamics and created a smoother sounding mix

- 0:30 has a bigger sense of awe now that there are big strings and bass note. It creates a sense of space and makes it feel like a grand moment

- Once we are in the dark and sinister part of the video from 0:50 there is a deep drone addition to push the sinister undertones further

| New layers 02 - start hit, void entrance, abrasive static

- addition of big hit when we see the computer at the start. More effectively marks the start of the video

- strings mixed better through the lowering of high frequencies and addition of base synth note to add body

- 0:42 now has a big popping bang with airy texture to emphasise the entrance to the new environment. It also helps add further structure to the piece

- abrasive cutaway samples have been added between the red and. blue flashing to maintain shock, intensity and negative valence through that climax - there is no escape !!

- end glitch effect added when entering the repeat of the computer visuals to bookend the piece. This, again like the start big hit is to create structure - a beginning and an end

Final - mix and polished with credits

[calumkenihan-studio]

| Old sound - new overlay visuals

- Oliver added more ACMI assets in the foreground of the screen to add more depth and texture

- Layers help to create more movement

- No satisfying syncresis with sound as it is the mix for the previous iteration

| Dry sound - removal of childish drawing asset and ‘help me’ changed to ‘COUCH THAT HURTS’

- Sound mix is completely dry as I moved the project across to a different computer without the same plugins - this was a blessing in disguise as it shone a new light on where I could take the sound design. It feels more confused and surreal - almost 8 bit

- The weird childish drawing that Oliver chose from the ACMI assets has been removed because it wasn’t in any way helping our concept or pallet

- The text that said ‘Help Me’ was swapped with ‘Couch that hurts’. Help me seemed much too obvious and cheesy. I had the idea of couch that hurts because it’s a bit ridiculous.. and it also is meant to explore the negative connotation that has been placed on lazy days at home doing nothing because of Covid

| Old sound mix blend - atmospheric

- To take some of the harshness away from the completely dry mix I blended some of the old soundtrack in as a stem in the background to fill out the body in some moments

- It’s a little bit less harsh on the ears, but is that what I want?

| Mixed with avalanche - intensity lifted in mix

- Taking child screams and avalanche effects and blasting them to emphasise high activated visuals has proven very effective - this mix completely assaults the ears

| Final - new ending and cleaner mix

- To match this new ending (which has created a more energetic and consitent arc of activation until the end) I chose new and more insulting sounds to really bring the chaos home

- Scratchy distorted drones and screeching static helps the whole thing feel like its about to explode into a bunch of circuit boards

- A final cut and polish at the end means that we are getting a huge amount of loudness out of the project without clipping and completely blowing eardrums

[calumkenihan-studio]

| Last week’s - with mix

- This is last week’s more percussive version which Putri chose to go ahead with - no chanting

- I ducked some volumes and adjusted some frequencies on some of the tracks to make the whole thing sit a bit neater

| Refinements and additions - new kick and build to ending

- Layered in a kick over the old kick to add a bit of top end and punch

- Bass notes continue and come in strong after drop to bring energy and groove

- Strings added at 1:40 to help emphasise the moment where everything becomes one - it also makes it all feel more music

- These new elements combine to help bring the piece to a more satisfying close at the end of the video

| Fine tune - remove brassy sound

- More volume ducking for neatness and tight sounding mix

- Some of the sync moments perfected and accentuated

- Brass sound which used to repeat after 0:16 has been removed as it wasn’t necessary

| Final - retimed for new visuals

- After completing my mix, Putri happened to add title pages and change some of the timing which threw the whole mix out of sync

- This final had major adjustments which you can hear sometimes in order to keep moments in sync with the visuals - I think it forced me to re asses some of the moments and overall resulted in a better mix

[calumkenihan-studio]

WeeK 12 ~

[calumkenihan-studio]

| New Chaotic draft w. Asset Overlays

I really like this new version. I have a couple of notes for the next draft.

Replace the kids drawing with an asset that is a little more relevant to theme

replace the 'help me' text with COUCH THAT HURTS

Faster and more head movement - more jolty as if the viewer is scared/paranoid

Faster & more choppy layers from 0:54 - 1:12. For variation of asset format could you additionally try placing some shots in the 3D environment kind if like in this tutorial? 

| Reference for new idea to add movement and dimension

[calumkenihan-studio]

2D Narrative Update

This updated TV narrative provides a clearer and more stimulating/interesting/ENGAGING subject to the piece - people

By introducing clear and recognisable scenes of socialisation at the beginning I feel a few main things:

- A feeling of empathy and nostalgia (park scenes, children playing)

- Intrigue - groups of people are a subject I can connect to (as opposed to the original farm land and farm scenes)

- Attachment, thus providing a mechanism to have leverage further into the video when there are fewer people and more jarring and uncomfortable themes coming to play

Chaotic Visual Effects test 01

although I am more engaged, there is still something boring about the lack of movement and dynamics in the visuals. 

Instead of relying on the viewer to observe and analyse a TV within a predominantly blank environment, we should be bombarding the audience with imagery and sounds that force them to engage.

Points of improvement to be made:

- adding layers in the foreground with other ACMI assets

- blending more fx and colour that create contrast within the structure of the piece (this will allow for syncopated sound and a stronger audio-visual relationship

- implement the new 2D edit into the tv screen

[calumkenihan-studio]

Class Reflection

Richard Grant | Guest Speaker 1

Rich talked a lot about how he does his best to be original - even in a world where so much has been done before. 

- Have a clear idea or tone and communicate it in unique ways. I heard this as if he were telling us to articulate but not to explain.

- Take initiative by making a work (anything!) about something you’re passionate about, work until you’re proud of it and then put it out in the world - this is a good way of building your online presence and reputation

Francois Tetaz | Guest Speaker 2

In the lead up to Franc’s talk I prepared 3 questions in the hope for answers;

1. Being a multidisciplinary musician, what advice would you give to us as practitioners with regard to the cost/benefit of honing a skill in a particular field vs trying new things and spreading yourself thinner amongst multiple disciplines at this stage of our development?

I managed to ask this question and received a very helpful answer.  Franc said if you want work it’s important to be very good at one particular thing. There has to be a good reason for your number to be in people’s phones - this builds trusting relationships, which can lead to more broad & multidisciplinary work.

2. Do you believe location/city can have a big impact on the prospects of success for someone in our industry? Given that you’ve worked in the US amongst other places, how does the network/demand of jobs and financial opportunities differ?

He didn’t get around to answering this exact question, but he did touch on the way that no matter where you are there will be extremely diverse financial offers for very similar jobs. Other employers never know your worth, so you HAVE TO. This being said - in the early stages of our careers we should really be taking most opportunities, even if we’re getting a bit ripped off - build relationships!

3. Being an artist that likes to experiment with different and avant garde audio techniques, how do you go about finding a line between experimental & authentic creations whilst ensuring the sounds/music is still going to appeal to a mainstream audience? Do you sacrifice any of your freedom as an artist for the sake of marketability?

This one wasn’t asked but from what I picked up, at this stage he is more financially able to say no to jobs that will compromise his own artistic visions.

other notes:

- Join APRA and start registering any music

- What am I good at? Can I get paid for it?

- Earn the trust of clients BEFORE you suggest your own avant garde ideas

~ If I work on it, it will be done ~

[calumkenihan-studio]

| Original idea

- simple rhythm

- less field recorded sounds

- awkward inter-sonic relationships - sounds are very artificial

- chanting

- rhythm repeats from half way point (apart from choir in the background)

| v2

- Replaced some of the sample/artificial drum and synth sounds with field recorded nature sounds to match theme

- kick too loud

- removed chanting

- no introduction of elements from 1:30

- upbeat synergy between elements from 1:00 onwards

- some of the synth stabs seem a little lost and random when repeating

| v3

- similar to v2 but with additional rhythms in final 30sec

- synth notes syncopated with line animations at 1:30

- mix is a little wet and becomes busy

- feels like it should build to something bigger - grand

Critique:

at this point there are many similarities among all projects but v3 seems the one to build on. Given the repetitive nature of the visuals it is up to me to construct a dynamic growth throughout.

finesse the synth at 1:30 to feel more organic

mix sounds to make space and champion the introduction of each new element

introduce AIR in the project - bounce off the choral elements and induce awe in the last half

tighten rhythm - what does need to be there? get rid of things that don’t.

[calumkenihan-studio]

weEk 11 ~

[calumkenihan-studio]

To do next week...

- Use field recorder to sample natural environment to build percussive elements for Putri’s “Footsteps” This will open the technical exploration of dynamic EQ’s and filters in order to turn noisy recordings of the bush into usable and tight sounding FX

- Refine Fiona’s edit - what elements are working better than others? Can I adjust levels or mute things that aren’t fitting in with the sound pallet to make the piece sound more considered and professional?

- Keep sending emails and encouraging Oliver - act as the producer in this period whilst waiting for new edit. Backseat drive and send reference videos.

[calumkenihan-studio]

Having completed this sound mix to this point, I’m unhappy reflecting on it as it’s not in a place where I want it to be. It’s interesting because it’s strange but it’s lack of visual excitement leaves me quite bored and disappointed.

To compensate for the lack of dynamics on screen I feel like I’m dramatising things to the point where it’s feeling cheesy. It’s almost as if im over articulating the narrative of the piece out of fear of people misunderstanding... to me it makes it feel more elementary than it needs to be. Perhaps I’m too close to it. I look forward to receiving some feedback on it.

For now I’m pushing Oliver to have a more exciting edit to me asap to allow a more abstract exploration of sounds that can sync with the visuals. time is ticking

[calumkenihan-studio]

In preparation for submission this Friday, Fiona and I have further refined ‘No Shoes Inside’

Although refinements are subtle, they are the first steps towards refining this piece towards a finished product. Upon reflection on this edit - my instinct as a sound designer is leaning towards stripping back the mix and letting certain aspects shine rather than continuing to bombard with sensory elements. This being said, this may just be a reflection of my ambient music tendencies and desire for something more refined and finessed over that of intense and complex. I will need to take it to the class to get some third party opinions.

Changes in new edit:

- Putri added some ‘digital lines’ around the 42 second mark to match the digitised muddy sound effect I added. This was done in a hope to juxtapose the organic sound of muddiness (even though it was digitally effected) and maintain the bizarre oscillation between the natural and real organic world and that of the computer. 

- I replaced the creature sfx with a more ambiguous and textural sound created by using ‘little alter boy’ plug-in on a cow walking through mud sample I found - you can occasionally hear the moo of a cow if you listen closely which I enjoy... it’s very hard to make out though.

- I added transitional emphasis with backwards cymbals/explosions to create a sense of structure from scene to scene - this generally dramatises the piece and creates a further sense of engagement

- further emphasis on the build and climax of the piece by playing with volume automation as well as layering of textures and duplicates of sounds effected by audio suite to create richness and diversity (pitch modulation, distortion, autotune for robotic-ness)

[calumkenihan-studio]

This is the first edit where Putri and I have seen eye to eye on some conceptual direction. 

Although many of the sound elements in this version are place holders, we have found a way to draw correlation between the audio and Putri’s vision - concept of “the footprints we leave on this earth” by gradually introducing sonic characters with each new animation and leaving them to remain and become a part of the rhythm like permanent footprints on the earth.

NOTES FOR FURTHER ITERATIONS

- Shift the sounds further towards the natural world - more organic samples will feel more unified to the visuals

- Create space in the mix to accomodate the future introductions of sounds - without clever mixing of levels after each new sonic introduction the mix will quickly become overwhelmed and cluttered

- Add subtle modulations to each track to avoid the piece becoming overly repetitious and robotic

[calumkenihan-studio]

Class reflection

On the lead up to this Sunday I’ll be working on all projects with Richard Grant and ACMI assets as we have an opportunity to present to them. I’ll also be developing the project with Putri further as it is still in need of attention before it’s in a safe position in terms of progress.

A take away from Wednesday’s class discussion is that I should not be fearful of sharing my opinion and playing a part in the vision for projects that aren’t being led by me - this is especially important for my project with Putri. 

I should be using my own artistic intuition and voicing my opinions to honour the collaborative process.

--------------------

There was discussion on the importance of SERIOUS rigour in these few developmental years if there are ever going to be prospects of work for us professionals. It’s a harsh reality but Shaun’s intention I’m sure was simply to help us understand what kind of a fire needs to be under our ass in this economy if we want to be successful in this industry.

- Don’t be afraid of initiating projects - even as a sound designer

- Hunt for work, it will not simply come to me

- Use the opportunity we have at this stage in life to network network network

[calumkenihan-studio]

This is my first draft of what i feel could be more of a mood pallet for Putri’s piece going forward. I know she has another edit comming so there aren’t too many elements that play with syncresis just yet

Overall very boring still