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jackmaclenfypblog · 2 months ago

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Adeline Sound Design Notes

Below are my notes from my Sound Design for Adeline:

ADLN POST NOTES:

TUES DUB NOTES: ✓ Take bass off PROD SOUND ◦ QUICKLY GRADUAL PAN SC5 into the room ✓ PROD SOUND CREAKS - TAKE OUT - then back in: cheat a creak - the rest lower ✓ Clock: start mono end stereo ✓ Take wind out SC7 ✓ Thump ✓ Breath up SC9 ✓ Put low pass filter: on PROD SOUND MIX ✓ WOL gradual to high ✓ Memories CHANNEL STRIP THING ◦ Adjust Pro Limiter Trim to get to the right levels ✓ More piano track 1 ✓ Strings track 2 ◦ Remove/lower/place back whistling in WOL ✓ Score start centre speaker SC5 (needs to feel diegetic) ✓ Change volume of diegetic score on cuts: a few dBs each (raising last would cover the boom handling in SC5) ✓ Treat score - record player (remove REEL2REEL - hum too in your face) ✓ Deal with LOW BASS RUMBLE in SC5 PROD SOUND ✓ Gradual build in memories: try panning and placing first to get clarity - then after try happy to sad in a more gradual climb ◦ SEND PFISH MOV TO YOUR EMAIL FOR POSTCARDS ✓ Foot sweeping moments - take down more ✓ Come back to SC6 PROD sound ✓ PROD SOUND SC5: LEAVE FOR NOW ✓ Sweep through the eye? ✓ Windows rattling, creaks, glass shaking, glass breaking, ballooons popping ✓ More wind in SC7 EXT ◦ Take PROD DOWN SC5? ◦ Keep TV WT GOING - SC8 - BRING VOL UP? ◦ Bring back feet CU PROD SOUND - SC9? ◦ Look at AMB SC7 - walk to window ◦ Look back at memories: something feels off about end ◦ Clock VOL ✓ SC3 TV

NEW DUB NOTES: ◦ Adjust Pro Limiter Trim to get to the right levels ✓ Try SC11 - bring rain/ or some water over memories: COME BACK TO ✓ Fade in WOL sounds sooner: ✓ Add BASS rising AMB to lead into WOL: maybe tuboscity ◦ More piano track 1 ◦ Strings track 2 ✓ Look at humming for first punch in for clock SC6: ✓ Look back at the spotlight sound: could add layer of glass bulb popping?: FINE WITHOUT ✓ Look at end of memory: a bit off right now - maybe bring back weird sound sooner ◦ Remove/lower/place back whistling in WOL ◦ Score start centre speaker SC5 (needs to feel diegetic) ◦ Treat score - record player (remove REEL2REEL - hum too in your face) ◦ Deal with LOW BASS RUMBLE in SC5 PROD SOUND ◦ Gradual build in memories: try panning and placing first to get clarity - then after try happy to sad in a more gradual climb ◦ SEND PFISH MOV TO YOUR EMAIL FOR POSTCARDS ✓ Hand grabbing SC9: TOO HARD LEAVE ◦ Foot sweeping moments - take down more ✓ Take weird sound out end of memories

DUB NOTES/TO DO: ✓ Meter film: -22dB ◦ Adjust Pro Limiter Trim to get to the right levels ✓ Bring down PROD SOUND in SC9 ✓ ADD FURNITURE SHUFFLING IN DISTANCE - if you have time: DONT NEED ✓ Add some kind of AMB instead of furniture shuffling - if above doesn’t work: DONT NEED ✓ Layer some subtle house AMB under dancing in SC5: NO NEED ✓ Grunt when kidney: from bathroom tracks ✓ Add light flickering sounds in SC8: some hum ◦ Try SC11 - bring rain/ or some water over memories ◦ Fade in WOL sounds sooner: ◦ Add BASS rising AMB to lead into WOL ✓ Raise the AMB in SC4: DONT NEED ◦ ◦ ✓ GHOSTLY AIR - When hand goes out: Deep basy ambience ◦ FADE AMBIENCE UP: RISE: SC8 ◦ Try same warp as tv on FX AMB ✓ Chuck some REEL2REEL in SC8: DONT NEED ✓ Effect score in SC5 when kidney?: DONT NEED ◦ Look at humming for first punch in for clock SC6 ◦ Look back at the spotlight sound: could add layer of glass bulb popping? ✓ Raise up AMB before she grabs hand and score begins SC9: DONT NEED ✓ Look at footsteps to window SC7 - sync ✓ Look at footsteps SC9 - veiled dancer sync ◦ Look at end of memory: a bit off right now - maybe bring back weird sound sooner ✓ Before WOL weird breathing and plastic flickering - take out ✓ Look at WOL DX - some rustling - especially after there’s no pain line: quieter - too in face ✓ Add birds after the end of WOL ◦ Remove/lower/place back whistling in WOL ◦ Score start centre speaker SC5 (needs to feel diegetic) ◦ Treat score - record player (remove REEL2REEL - hum too in your face) ◦ Gradual build in memories: try panning and placing first to get clarity - then after try happy to sad in a more gradual climb ◦ SEND PFISH MOV TO YOUR EMAIL FOR POSTCARDS ✓ Look at TV WT SC8 - warp to movements ✓ Build in shaking glass: like the house is shaking - towards the end ✓ Bring creaks to their footsteps and movements: basy though - low and rumbling ✓ Work on AMB FADE - house sounds rising if it needs more of a sweep ◦ Hand grabbing SC9 ◦ Foot sweeping moments - take down more ◦ Take weird sound out end of memories

ZOE NOTES: ✓ Rumble over kitchen at start

BASIC TO DO LIST: ✓ Mark Scenes ✓ List scene descriptions ✓ Note AAF tracks (double check) ✓ Create DX tracks ✓ Create PROD tracks ✓ Create AMB tracks ✓ Create SFX tracks ✓ Create MX tracks ✓ Separate DX from AAF ✓ Separate PROD from AAF ✓ Separate SFX from AAF ✓ Make a list of WT needed ✓ Mute clips we don’t need: keep them muted (not deleted) for reference ✓ Make a Foley list ✓ Send another bounce mix Mov to Sot - end of the day: ✓ Add the new score in: THE STEMS! ✓ Download the new smash stems ✓ MIX SC5 MX BEFORE RECORDING ON REEL 2 REEL ✓ Download TRACK 2 STEMS ✓ MIX SC5 ✓ MIX SC8: NO NEED ✓ BOUNCE MIX MIXED MX SC5 MIX ✓ BOUNCE MIX MIXED MX SC5 NO MIX ✓ BOUNCE MIX INDIVIDUAL MXSC5 tracks [NO MIX] ✓ BOUNCE TELEVISION TRACK ✓ BOUNCE TRACK 2 STEMS [NO MIX] ✓ BOUNCE TRACK 2 MIX MIXED NO NEED ✓ BOUNCE TRACK 2 MIX NO MIX ✓ Record bounced mixed MX from different distances ✓ Record individual MXSC5 tracks ✓ Record individual MXSC8 tracks ✓ Record TV WT track ✓ WETRANSFER ALL BOUNCE FILES TO EMAIL ✓ Upload all REELTOREEL recordings and place on session ✓ Add new VFX MOV to session ✓ Download files from George ◦ Import George’s storm sounds ✓ Download track 3 WAV and reply to Sot ✓ Send version to Alfie ✓ Remind Alfie that SC5 score needs to be locked before Friday - so tomorrow ✓ TEST OUT WOL ALL SEND TO VERB ACTIVE: WAS FUCKED ✓ Deactivate sends on WOL that are unused ✓ Download new SMASH STEMS from Sot and reply to email ◦ PUT ALL RUSHES WT ON GOOGLE DRIVE ◦ MAKE A DUBBING SUITE MIX LIST ◦ TAKE PICTURES OF SESSION FOR BLOG: ADLN AND PFISH ✓ Take pictures of recording REEL2REEL STUFF:)

WEEKEND TO DO: ✓ Upload all REELTOREEL recordings and place on session ✓ Sync R2R clips ✓ Trim excess noise of R2R clips ✓ Add new VFX MOV to session ✓ Move session to match new MOV ✓ SC2 AMB: add something low - Windows rattling maybe ◦ ADD FURNITURE SHUFFLING IN DISTANCE ASK ALFIE ◦ Layer some subtle house AMB under dancing in SC5 ◦ Grunt when kidney ASK ALFIE ✓ Work with Alfie on change to score from R2R - and below point ◦ Effect score when kidney ASK ALFIE ◦ SOUNDS OF THE HOUSE: Rising through 678 and coming to one note: EXT STORMISH NOISE - INT HOUSE GROANS ◦ MORE HOUSE GROANING - CREAKING - GROANING ✓ SLOW TO FAST: TV ✓ Make score-ish for SC8 - bring with rising house noise. Manipulate TV, STEMS, or DANCE 1 (FIRST TWO MAINLY) ✓ Echo for clock - maybe lower as well ◦ Add light flickering sounds in SC8 ◦ Clean up SC8-9 PROD SOUND ✓ add footsteps for veiled dancer hand out ✓ Add breath Louise SC9 ◦ Clean up SC8 PROD SOUND - AFTER SWELL ◦ Clean up SC9 PROD SOUND AFTER SCORE ◦ ADD WEIRD SOUND FOR SPINNING LIGHTS - transition into SC9 ✓ Add more noticeable memories in start - cooking, speaking ✓ Add weird REEL TO REEL to Memories ◦ Try SC11 - bring rain/ or some water over memories ◦ Fade in WOL sounds sooner: ◦ Add BASS rising AMB to lead into WOL ✓ Take crackling out of memories: rise up to come in later ✓ Render in elastic audios: NO NEED ✓ Do SC5 MX: distant R2R into closer ✓ Clean up SC5 PROD SOUND - AFTER SCORE ◦ BOUNCE MIX ALL SURREAL PART OF THE FILM: RECORD FROM REEL2REEL TONIGHT ✓ Track 2 violin - reset ◦ More piano track 1 ◦ Strings track 2 ✓ SPOTLIGHT ◦ GHOSTLY AIR - When hand goes out: Deep basy ambience ◦ FADE AMBIENCE UP: RISE: SC8 ◦ Push the AMB in sc4 ✓ Bring SC7 grin into Sc8 ◦ Try same warp as tv on FX AMB ✓ LONGER CURVE: ◦ Chuck some REEL2REEL in SC8 ✓ Ring into spotlight

WEEKEND NOTES: ◦ Try offset the TV WT track in SC8 - might be freaky and cool - bring in at certain moments?

LOCK IN TO DO: ✓ SCENE 2 ADDITION (LONG): BAR AMB ✓ SCENE 3 CHANGES (SHORT/ANNOYING): DONT THINK IT WORKS - WORK WITH ALFIE ON THIS ✓ SCENE 4 ADDITION (SHORT) ✓ SCENE 6 (MEDIUM/ANNOYING): NOT DONE AT ALL - NEED TO GET ALFIES DIRECTION ON THIS ◦ SCENE 7 (LONG/WEIRD): ASK ALFRED IF YOU CANT CRACK IT ✓ SCENE 8 (HALF WORK/MEDIUM): STILL NEED LIGHTS: BUT WORK WITH SCORE ✓ SCENE 10 (SHORT) ✓ SCENE 11 (MASSIVE/LONG/FUN): NEEDS A SHARPER DIRECTION: HARSH SOUND CUTS - LESS REVERB CLIPS ✓ SCENE 12 (RELIESON11/LONGISH) ✓ SCENE 13 (MEDIUM/FUN): GO OVER WITH ALFRED

SECOND WAVE: ◦ SCENE 2 AMB - LOW PIPES ✓ SCENE 3 - WORK OVER VISION WITH ALFRED ◦ SCENE 6 - GET ALFIES DIRECTION ON CLOCK EFFECT

GENERAL NOTES: For separating breaths: I will separate them in the DX tracks - but IMPORTANT note - they will remain in the PROD SOUND (this means we won’t have changes in cuts - but we have the option/ability to raise the breaths within the mix, without affecting PROD SOUND

For DX separation: Scene 11 only has mix for first half of lens whacking section - just using mix - placing into boom: ask Robbie about this! We are also missing some Boom and Lavs from Scene 3: ask Robbie about this! (I have notes this red - similar to above)

If you feel like you are missing certain elements: especially plant mic - go back to AAF - sometimes the LAVS have nice sound: for running down stairs before veiled dance as an example

All stereo tracks will automatically pan to centre - remember to delete the pan automation when you place stereo clips

FRIDAY MAW NOTES: ◦ SC2 AMB: add something low - Windows maybe ◦ SOUNDS OF THE HOUSE: Rising through 678 and coming to one note: EXT STORMISH NOISE - INT HOUSE GROANS ◦ Echo for clock - maybe lower as well ◦ Add more noticeable memories in start - cooking, speaking ◦ Make score-ish for SC8 - bring with rising house noise. Manipulate TV, STEMS, or DANCE 1 (FIRST TWO MAINLY) ✓ Big swoosh for Abyss to her grabbing ✓ Grabbing sound ◦ Fade in WOL sounds sooner: ◦ Add BASS rising AMB to lead into WOL ◦ Take crackling out of memories: rise up to come in later ◦ Render in elastic audios

QUESTIONS FOR MAW: ✓ Do we want to keep the ‘fuck’ in scene 1? YES ✓ Where do we want the house sounds? ✓ What do you think of Adeline sighing/groaning in Scene 4 second take - I’m not sure it works - might be better: LEAVE IT OUT ✓ Can I get stems: YES ✓ Can I get access to the Spotify sends: YES ✓ Timeframe: 6TH OF APRIL FINAL DAY! BUT ANYTHING BEFORE - STEMS! ◦ What do you think of SC3? ◦ In SC6 do we want the pan for the clock to gradually move from LR to C - or to snap to C when it starts ticking to the same time (currently snapped) ◦ Can’t crack SC7 - any ideas?

[email protected]

MAW NOTES: ✓ Send Shruti box on Google drive - and send to Alfred ◦ Try Soft Wind Soundly Sound Library over abyss ◦ Noise cancelling headphone air pressure ear sound - have a look for Abyss ◦ Send Under the Skin to Alfie

QUESTIONS FOR HERVE: ✓ Video track keeps failing: CONVERT FROM H265 TO H264 ◦ Noise reducers keep not playing ✓ Ask about Clock Reverb send: NEED TO CREATE A BUS FOR THE STEREO AUX TRACK AND SEND THROUGH THERE

CREATIVE QUESTIONS: SC1 ✓ For the first clock ticking - start in mono (on stereo track) then pan to stereo as the clock is not focused on SC2 ◦ Could the house noises be low stretched creaks - as well as CONT noises - maybe wind too? SC6 ◦ For clock ticking: try first in mono - and second moving into stereo - for both! ◦ Do we want to change the sound of the clock - maybe add the metronome offset by the click back - to suggest broken SC7 ◦ Maybe we use a low wind AMB - to play with? Make it all a bit more tense - bring something like this over the whole scene - ramping in tension ◦ Create a weird haunting swell - that brings us downstairs to the veiled dancing ◦ Duplicate bird track: fuck around with effects of the birds in EXT SC12 ◦ For scene 12 - could we possibly bring a swell of noise up as we move through the eye (sounds from memory even) and then automate the denoiser? SC13 ◦ Layer under the Shruti Box for Wall of Light? ◦ Record humming over Shruti box and mix in - reference video in phone ◦ Record whistling matching humming and mix in SC14 ◦ For AMB birds - do we use the vinyl crackling one at the end?

WT NEEDED: ✓ Nail biting Scene 1 ✓ Nail biting Scene 3

SCENE CHECKLISTS: SCENE 1: ✓ Add Clock WT ✓ Pan clock WT mono to stereo on kettle cut ✓ Reduce volume of clock WT as we cut to kettle - and maybe EQ/reverb slightly ✓ Add birds over black ✓ Pan birds close to LR to full LR on kettle cut ✓ EQ/birds to be placed outside on kettle cut - maybe slight reverb? ✓ Create Bus for the stereo Aux track ✓ Reverb the clock in the space? When kettle ✓ Create blend between black clock and kettle noises (maybe Shruti - nod to end?) ✓ Bring the kettle noise as a riser into the scene - like a wave - this could be the sound we have now - or a suggestion of the flowing water before? Think emotionally ✓ Add nail biting WT ◦ Add some distant EXT AMB from outside the window? ✓ Bring the fuck back in SCENE 2: ✓ Take low bass bumps out: isolate clean PROD SOUND ✓ Replace AMB ✓ Take out weird mouth sounds ✓ Potential replace into bed movement - if weird mouth sound removal cuts parts out of this sound ✓ Match footsteps? ✓ Door creak open? ✓ Creaking noises (footsteps) ✓ EQ distant birds WT: DONT THINK WE NEED - HOUSE AMB WILL BE BETTER ◦ Play around with some subtle house noises to suggest/foreshadow things to come? ✓ Replace cup put down sound? ✓ Raise volume of PROD SOUND? ✓ EQ bass of PROD SOUND slightly? SCENE 3: ✓ Add nail biting WT ✓ Play around with bringing the TV noises out a bit - retreating into her mind - EQ LOW PASS AUTOMATION ✓ Add some white noise/buzzing - could play with the Shruti Box again for this ✓ Raise levels of kiss ✓ Remove Shruti Box ✓ Add other higher pitched buzzing ✓ Make EQ effect more subtle and take the volume out ✓ Try Reverb on the EQ bit ✓ Or try reverb everything else: WOULD BE WEIRD SCENE 4: ✓ Add bathroom wet noises WT - mild and carried over ✓ Emily grunting: TOO DISTRACTING ✓ Wind low EXT ✓ Rumbly pipes ✓ Match her footsteps? ✓ Add more high pitched wind: EQ out highs?: DONT NEED SCENE 5: ◦ Add MX distant, in Reel-To-Reel, then score like ◦ Make bird insert same in AMB ◦ Try and add scraping furniture WT - see if this reads (a little something in the background) ◦ Light rain light wind - really subtle ◦ Clean up walk down stairs SCENE 6: ✓ Add clock WT ✓ Remove hum AMB: ITS LEVEL AND WORKS ◦ Replace AMB with EXT (placed) AMB ✓ Pan clock from stereo to centre as it goes ✓ Raise volume of clock: incrementally as we go ◦ Effect clock: make it sound different as count on ✓ Add snap back sounds for time clicking and stopping ◦ Maybe a similar effect in next scene: a low rising AMB that brings tension to the clock? SCENE 7: ✓ Remove Dolly sound ✓ replace movement footsteps ✓ Match takes in 7A in terms of AMB: or add an EXT AMB that increases in volume and decreases in low pass filter as we move towards the window ✓ Replace L turning round sound: KEPT ORGINAL BUT TRIMMED ✓ Sort bass out in EXT ✓ Add EXT AMB to match/cover bass changes in EXT: NOT NECESSARY ✓ Maybe replace footsteps running back inside?: NO NEED ◦ Try weird low wind stretched ◦ Change the bird sound: make it more haunting ◦ Duplicate bird track: fuck around with effects of the birds in EXT ◦ Raise birds when we enter outside - or EQ slightly birds more at window ◦ Add another bird track: maybe crows? Fade into this as she turns around - get freaky ◦ Back inside: house creaking shit gets weird ◦ Create a weird haunting swell - that brings us downstairs to the veiled dancing SCENE 8: ◦ Add MX ◦ Make AMB consistent ◦ Add light flickering FX ◦ Clean up PROD SOUND ✓ Extend footsteps down stairs to match cut SCENE 9: SCENE 10: ✓ Just have a look ✓ Rain in here SCENE 11: ✓ Add rain WT ◦ Bring rain and water rising AMB/FX ✓ Create memory sounds ✓ Mark the changes and put sounds there

Comfortably Numb - Impressions Earthenware - Impressions Black Canyon - Impressions Impressionist Spring - Impressions

SCENE 12: ✓ Create abyss sounds ◦ For Abyss Noise Reduction- duplicate and automate noise reduction with faders: fade one into the other ◦ Make sound for the trinkets - and grabbing the trinkets ◦ Work on DX - crying - make her seem small or big - definitely in a wide cavernous space ✓ Big whoosh - will cover the trinket noises: WHOOSH OF AMB ✓ Add grab! SCENE 13: ✓ Have a look at DX in this scene - spacious ✓ Add kiss on forehead sound ✓ Create wall of light sounds ✓ Add humming ✓ Add whistling ✓ Maybe add score ✓ Stretch and add space Tibetan Gong ✓ Layer over original FX over Tibetan Gong ◦ Add more layers of humming: get different people ◦ Once plastic sheet (and I’m assuming other sound) have preferred reverb - maybe drag back along timeline to fit delay to chosen moments ✓ Add children laughing ✓ Add more plastic sheet wind - to first but when she walks - and cut to final shot of 13B ◦ Add some deeper notes: DO IN MIX ◦ Add humming: Adeline and Louise ✓ Fade last hum out sooner ◦ Bring whistling and humming down: and back: DO IN MIX ◦ Fade in slower: everything

Hydrogen- period table Distant Smear - Miscellaneous

SCENE 14: ◦ Have a look in general ◦ Add some AMB - birds

ZOE NOTES: ◦ Ask what key notes/base note is for score ◦ Ask for rough melody or anything ◦ Paul stretch - use for first scene

FOLEY LIST: ◦ Movement in for Wall of Light ◦ Movement from 7A to 7B

SCENE DESCRIPTIONS: Scene 1: A: black B: clock C: making tea Scene 2: eating biscuits and resting head bedroom Scene 3: watching TV and pill Scene 4: bathroom Scene 5: A: reading book upstairs B: walking downstairs C: dancing in living room Scene 6: A: counting pills B: clock ticking Scene 7: A: Mother is gone B: garden C: creepy kid Scene 8: run downstairs - veiled dancers Scene 9: Ballroom dance Scene 10: covered living room Scene 11: Memories scene Scene 12: Eye - Abyss Scene 13: A: Wake up Abyss B: Wall of Light Scene 14: Return to house NOTE: SPLIT SOME SCENES INTO ABC VARIATIONS - FOR CHANGE IN SPACE

DX TRACKS: Scene 4: Boom LLAV ALAV Scene 7: Boom LLAV Plant Scene 11: Boom LLAV Plant? Scene 13: Boom LLAV ALAV NOTE: CREATE DX TRACKS FOR BREATHING: IF WE NEED TO BRING ANY UP OR SEPARATE

PROD TRACKS: Scene 1: Boom Plant Scene 2: Boom Scene 3: Boom Scene 4: Boom Scene 5: Boom Plant Scene 6: Boom Plant Scene 7: Boom Plant Scene 8: Boom Plant Scene 9: Boom Boom Scene 10: Boom Plant Scene 11: Boom Plant Scene 12: X Scene 13: Boom Scene 14: Boom

FX TRACKS: Scene 1: clock (mono) Scene 3: TV (stereo) Scene 4: Bath noises (mono) Scene 6: clock (mono

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jackmaclenfypblog · 2 months ago

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Pickled Fish Sound Design

Sound design for Pickled Fish was a very challenging, long, and eventually satisfying, experience.

The real challenge was that I felt like I had nowhere to hide in my mix. Every inch of the films sound had to be clean, correct, and consistent. I couldn’t cover anything with large creative sound effects or ambience. It all had to make sense, and there couldn’t, under any circumstances, be any mistakes as it would immediately take the audience out of the experience.

This proved to be really hard thing to achieve. I had some problems in the interior scenes with the background hum of the fire, which meant I had to chop and change, play around with Ambience Matching and even RX Isotope! How scary!

I got to a stage where I got really ear blind, and I just wasn’t sure how to progress the film any further, but I knew it wasn’t where I wanted it to be. After long discussions with Zoe, she gave me some advice that definitely saved my sound design … I had been thinking about everything totally logically, and that now, at the later stages of the process, I needed to think in tandem with the emotions of the film. This was like a weight lifted of my shoulder! I finally knew what and where I needed to go with it. Thank you, Zoe!

The whole process, while tough and tiring, was filled with some really brilliant support from my directors, Ariel and Luca, and Zoe and Rosie.

Creating the engine sounds was really good fun! And finally settling the dialogue into the scenes with some reverb through and Aux track tied it all together. The addition of some ambience, such as fire and distant waves, really gave it the fullness it was lacking in the early stages of sound design.

For the 5.1 mix, I tried to be very subtle with my panning and mixing. I never wanted to distract the audience at any point, as I felt this wouldn’t fit with the films nature.

It was definitely the hardest, or so I thought at that point, sound design I have had to do. I think I am used to, and prefer, creative sound design – but having to nail everything felt terrifying. But I think I am very happy with the outcome, and I would even go as far to say that I am proud of the sound in this film :)

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jackmaclenfypblog · 2 months ago

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Pickled Fish Sound Design Notes

Below are my notes on the sound design process of Pickled Fish:

PFISH NOTES:

For access to sound library recordings: you have to download from Google Drive: then you can move this file over to your session. For Excursion Sound Recording files - have 5 mono tracks (SFX) open and clear: this will separate your Mix, Boom, Contact Mic, and Hydrophone - so you can access all individually.

SOUND FILED: downmixer 5.1 to stereo LFE muted Then hit your -23 and -16 Pro Limiter good for bringing stuff up

ambience panning 01 - 11:49

7535

THE EVENING PLAN: ✓ Make sure all AMB is panned correctly ✓ Listen through and watch WLM - then trim in tandem with recommendation - with Pro Limiter ✓ Have a look at weird tone ✓ 6:20 - why is ambience dropping out ✓ Maybe bring some AMB over weird tone lines - SCENE 2 ✓ Add Fire WT - and place! And waves in both interior scenes ✓ Add fire and waves for SCENE 5 ✓ Get creative with any other INT AMB elements ✓ Start panning and placing Engine ✓ Maybe add reverb to interior Emgine (make another stereo Aux and send not route!) and LFE! ✓ Find out weird rush in SCENE 4 ✓ Ask about waves in SCENE 2 ✓ Declick fire in SCENE 5? ✓ Maybe take out MX LFE ✓ Bring fabric flowing over cut - first time ✓ Cut off after he wouldn’t just give up: have a look ✓ Have a look at off axis lines: especially ten foot catches ✓ There’s less life in these waters: weird distant click BEFORE THIS LINE ✓ SCENE 5: footsteps pan ✓ SCENE 10: bike pan ✓ Start planning and placing all AMB ✓ Think LFE!

DIRECTORS NOTES: ✓ Melvins DX SC2 ✓ FERGUS SC5 ✓ Boat ✓ 1:34 ◦ Scene 4 DX

AMB MATCH: ◦ Slight rumble after he puts his spoon down ◦

5.1 LIST:

BIG NOTES/TO DO: ◦ Something at start: to suggest music - so that it feels bookended ✓ Route PROD and FOLEY to the reverb track - do from sends in each folder ✓ Automate the amount of reverb for each section ✓ Do the same for SCENE 5 ✓ Delete markers ◦ Listen through without AMB and see where things are patchy ✓ Un route AMB ✓ Send to a new stereo Aux track - with space plug in on there ◦ Find places in AMB difference - and figure out! ◦ Find which AMB track has a slight buzzing ◦ Check all AMB pan automation

SCENE 1: ✓ Bring the bass in the knocks up ◦ Send the engine rumble around the room: place back - between L R and LS and RS ◦ Send the engine tumble to LFE ◦ Send ambience around the room ◦ Do we send the engine sound to a bit of reverb? Maybe even just for the INT engine sounds

SCENE 2: ✓ Bring up Melvins base in first part of scene 2 ◦ Weird buzz in Melvins DX - have a look ✓ Weird cut after paper slide ✓ Weird sound after - we can do this work blind with one hand if we had to ✓ Bring in the window ambience earlier: or extend later - especially birds ✓ Maybe take porridge eating FOLEY down ✓ Have a think about weird pops in AMB

SCENE 3: ✓ Take out high rumble: Volvo? After cut to inside ambience ◦ Change the pan/placement of engine rumble - from wide to centred when we cut to inside cabin ◦ Do we send a smaller signal to LFE - and would the inside cabin need a little more LFE?

SCENE 4: ◦ Send AMB back a tad ✓ This came with the letter - take line out? Doesn’t land ◦ Bring back up the two lines

SCENE 5 ✓ Lower: there’s deeper waters down where Kelly lives + ten foot catches lines ◦ Pan entrance footsteps to movement ◦ Maybe replace ten foot catches line ◦ Weird high tone in Scene 5 ◦ Look at each DX clip: try and avoid weird cuts ◦ Play around with AMB - needs to fill the room more

PANNING AND PLACEMENT:

SCENE 1 ◦ Start the engine centre back of the room: then bring forward when picture arrives

SCENE 2 ◦ Pan Fergus’ footsteps out the scene - centre to right (slight) ◦ Pan/place the seagulls and waves slightly right

SCENE 3 ◦ For the engine: make a change from outside to inside - try and match scene 1 ◦ For Ambience - spread it

SCENE 4: ◦ Spread AMB ◦ Pan footsteps centre to left?

QUESTIONS TO ASK: ✓ How to I place my AMB if it’s routed to a stereo Aux reverb? ✓ If I send to LFE - will the original sound play in the same placement? ◦ Should I raise everything to match levels on WLM? Before I start messing around with panning and placement - ◦ Does the spoon drop sound okay? ◦ Does the bass in Ian’s voice SC2 sound okay? ◦ What do you think about adding fire and rumbly wind INT - especially SCENE 5 ◦ Is there anything else I should think about? Before I start going crazy with panning/placement

CHECK AMB PLACED RIGHT PANNING AUTOMATION

THE FINAL LIST: ✓ Knocks base down ✓ More bass in rumble ✓ Take tone down ✓ Bit more Base on Ian’s voice ✓ Levels down: spent the rest of our lives ✓ Bring some birds in ✓ Slight engine rumble ✓ Voice levels down Scene 4 ◦ Levels down on voice ◦ It’s not moving on it’s giving up - weird rush ◦ Look at overall EQ of DX a little canny ◦ Ten foot catches: maybe change ◦ Bring wind in as more of a transition ✓ Bring grass down first bike scene ✓ Take horns out ◦ AMB

TO DO: ✓ import AAF ✓ Import MOV ✓ sync MOV and AAF ✓ Name AAF tracks ✓ Mark scenes ✓ List description of scenes ✓ Create DX tracks ✓ Checkerboard DX ✓ Create Prod Sound Tracks ✓ Fine trim DX ◦ Look at alternatives for SWAP? DX ◦ Level DX ✓ Checkerboard Prod Sound ◦ Fine trim PROD ◦ Add ambience

SCENE DESCRIPTIONS:

SCENE 1: On boat - turning engine on SCENE 2: Conversation INT 1 - eating soup SCENE 3: On Boat - crossing coordinates SCENE 4: Washing line conversation SCENE 5: Big INT conversation- sewing, drinking etc. SCENE 6: Melvin blue light cliff SCENE 7: Fergus asleep sunset light SCENE 8: Empty Boat SCENE 9: Bike down grass SCENE 10: Cycling on road

DX TRACKS:

SCENE 1: FER BOOM FER LAV PLANT MIC SCENE 2: MEL BOOM FER BOOM MEL LAV FER LAV SCENE 3: X SCENE 4: MEL BOOM FER BOOM MEL LAV FER LAV SCENE 5: MEL BOOM FER BOOM MEL LAV FER LAV SCENE 6: X SCENE 7: X SCENE 8: X SCENE 9: X SCENE 10: X

PROD SOUND TRACKS: Create 1 Prod Sound tracks for each scene - but prepare to create 2 in preparation for overlapping of sounds from either boom.

GENERAL NOTES:

AAF TRACKS LAVS: LAVS are interchanged between A5, A6, and A7. Make sure to select the correct clips on tracks for each scene. Check sound reports for this.

TAKEN OUT LAV SOUNDS AND BOOM SOUNDS SUCH AS BREATHING AND EATING: when it’s the opposite characters DX - put this back if you need it. Don’t want to lose connection to their performance. Taken out anything but DX from DX - so should pick them up in prod sound - but might need to put back if we don’t keep them. ✓ Make a decision on where to put prod sound: thinking in a separate folder to DX so when using VCAS you don’t affect prod sound - going to separate into prod sound tracks When checkerboarding PROD SOUND - only taking what I need - then the rest can be moved to ambience - or the hope will be that we can create our own ambience: room tone, extra stuff like fire and waves.

FOR CHECKERBOARDING PROD SOUND: Scene 1: might be hard to pick and choose as there’s a lot of seagulls in the background. Come back to this.

FOR AMBIENCE: TRANSITIONS BETWEEN SCENES: ◦ Once all scenes have had a first pass - and ambience is placed: experiment with the transitions between the scenes’ ambience.

SCENE NOTES:

SCENE 1: ◦ Add the boat WT - metal things etc. try this for all boat scenes! Add extra at start - or lengthen first one ◦ Add the engine WT ✓ Try and fake footsteps and movement

SCENE 2: ✓ Try and invert the high humming noise - to cancel it out ✓ Match the low rumbling AMB in Melvin’s shots with Fergus: this should hopefully give us clean consistent AMB across the scene ◦ Find sounds for first shot of Scene 2 - otherwise FOLEY! ◦ Maybe raise DX volume? ◦ THINK ABOUT DOING THE SAME RHING FOR SCENE 2 THAT YOU DID FOR SCENE 5: NOISE REDUCE PROD SOUND ◦

SCENE 4: ◦ Foley Melvins action? ✓ Try and fake Melvins action ✓ Add Fergus footsteps ◦ Maybe don’t have DeNoiser - add ambience and see ✓ Add fluttering fabric in wind sound ✓ Add wind ◦ Maybe bring the wind up with the pencil tool - during moments where it seems windy - and also over Fergus’ final line

SCENE 5: ◦ it’s worth reading line - low on boom and LAV - try and find alternatives for this take. Will need to sync to his mouth movement! ◦ Match the humming takes with inverse hum ✓ Put AMB of rumbling fire - try and match first and last takes ✓ Constants and Esses bring them out fuller ◦ Breathing tinny - move this to DX TRY WITH LAVS!!! ✓ Throw a De-esser on dialogue ◦ Take lows of - take the edge off ◦ Mess around with EQ of DX ◦ For reducing bass on Melvins DX - take LAVs down first ◦ Add some sewing WT? When needed ◦ Add more AMB - settle the scene more (maybe wind - maybe distant waves)

SCENE 7: ◦ Come back to DeNoisers ◦ Maybe add in breathing so it’s not cut off ✓ Add gulp for whisky drinking ✓ Add whistling wind ambience? ◦ Maybe take the highs down a tad

SCENE 8: ✓ Some talking in takes: try and fake ✓ Add some ambience of rustling grass in wind?

SESSION COPIES:

COPY01: saving just before I fine trim the prod sound - incase it’s entirely a fucking awful idea :) 14/03 19:01 COPY02: Starting second day 15/03 09:22 COPY03: Before I start messing around with Scene 5 15/03 11:41 COPY04: Starting third day 16/03 010:20 COPY05: Before starting to mess around with DX EQ, Compressors, and De-Essers 16/03 15:36 COPY06: Starting fourth day 17/03 09:08 COPY07: Starting fifth day 18/03 09:13 COPY08: Before redoing scene 2 18/03 15:16 COPY09: Before day 6 and foley 19/03 09:22 COPY10: End of Foley: 19/03 12:22 COPY11: Before RX CONNECT!!! 19/03 19:39 COPY12: Before day 7 20/03 09:17 COPY13: Before day 8 21/03 09:10 COPY14: Before day 9 22/03 09:14 COPY15: before we fuck the boat COPY16: before final day 23/03 09:12 COPY18: BEFORE STARTING DUBBING SUITE

FOLEY LIST: ◦ 1:32 Melvin stirring pot ◦ 1:43 Melvin eating soup ◦ 3:43 Melvins action washing line ◦ 5:09 Fergus packing pipe

DX CLEANING:

Command U - strip silence 250Hz is around the low rich frequency of the voise Boost 5kHz - for the higher frequencies. For compression - Dyn Compressor/Limiter (D3 CL)

COMPRESSOR: Try ratio 8:0:1 Threshold starting number -18 Knee: if you add to the knee you make the compression a little more smooth - try 3db

TO DO STUFF: ✓ Finish pass on scene 1 ✓ Finish pass on scene 2 ✓ Finish pass on scene 3 ✓ Fill in scene 5 ✓ Make a list of Foley ◦ Make a list of sounds: sound library and rushes - and moments that could be used for LFE ✓ Add Foley sounds into mix ✓ Take off individual compressors on DX tracks ◦ Raise overall levels: hit 24-28 LUFS

NOTES MEETING 1:

SCENE 1: ◦ Add the boat WT - metal things etc. try this for all boat scenes! ✓ Add the engine WT - Lengthen first one ✓ Add a couple splutters first - ENGINE ✓ Try and fake footsteps and movement ✓ Trim PROD sound to what you need ✓ Noise reduce footstep movement: take down so it’s not so harsh ✓ EQ PROD movement - footsteps - take the bass off ✓ Once EQ footsteps is done: you could match these footsteps with the WT footsteps to gain consistency ✓ Add ambience: boat lapping, gulls squawking, general harbour AMB ✓ Add back in LAVS for breathing

SCENE 2: ✓ Take out weird hum - do same approach for Scene 5 ✓ Bring back Melvin’s LAVs low ✓ Add Foley shot 1 ✓ Add eating Foley ◦ Add AMB ✓ RX CONNECT MELVINS DX ◦ Send AMB to 5.1 reverb: fill out the room and cover changes with DX and PROD ✓ Bring down PROD sound - couple decibels ◦ Mix AMB to match moments in the film - especially first shot ◦ Oil lamps rumbly pipes ✓ MATCH THE SPOON DROP! ◦ Take scraping out ✓ Make soup sound thicker ✓ Take Ian’s base down ◦ First line - third line weird MELVIN ◦ Do a dialogue pass: raise individual clips and change EQ ◦ Raise overall DX levels ✓ Could use FIRE CONT 001 (contact mic track) for rumbly pipes

SCENE 3: ✓ Bring back Melvins breath: or add ✓ Add water lapping AMB ✓ Jacket movement for pick up pencil sound

SCENE 4: ✓ Bring foossteps down ✓ Add Foley ◦ Bring AMB up and down to suit intimate moments and CUs ◦ Bring a swelling transition ✓ Lose Melvins jacket after - it came with the letter line - bring back in

SCENE 5: ✓ Footsteps walking in - bring down ✓ Packing pipe - WT ✓ Breathing - presence ✓ Sigh as Fergus sits down ✓ Hum - have a look: ◦ Bring the swooshing to the next scene from this scene ◦ Move the swooshing wind to this scene from scene 7 ✓ Bring the fire down: cut pops - change even ✓ Match footsteps point of contact when he goes to get whisky ✓ Bit high pitched whisky glasses ✓ Whisky cork pop have a look ◦ AMB seagulls and waves + bit of wind ✓ Add Foley - Fergus movement ✓ Replace off axis takes ✓ Replace final take - or RX CONNECT ◦ Route ambience to a 5.1 reverb: will be subtle - but will fill out the room and cover the changes in prod and DX ◦ Bring AMB up and down to fit intimate moments ✓ Bring PROD sound down - or take down the high peaks ✓ Add sewing WT ◦ Bring Fergus breathing in ✓ Add sound of Fergus picking up whisky glasses (offscreen) ◦ Weird noise after last line in PROD SOUND - look tomorrow after denoisers aren’t fucking up ◦ Do a dialogue pass: raise levels and EQ of certain clips ◦ Raise overall DX levels

SCENE 6: ✓ More dynamism in the wind ◦ Maybe add another whooshing wind track

SCENE 7: ✓ Take down all action ✓ Bring down wind AMB after transition whoosh ✓ Take action down again

SCENE 8: ✓ Less seagulls

SCENE 9: ✓ Take down grass swooshing

SCENE 10: ✓ Take horn away

LFE:

TrawlerLapping07: could be used for boat LFE - could also use 03 or 08

SCENE 2 REDO:

The approach for scene 5: ✓ Denoise prod sound ✓ Removed Melvins prod sound ✓ Put De - easer on DX ✓ Not touched EQ: but probably a good idea ✓ Take lows of DX EQ ◦ Add LAV breathing back in ◦ Add Ambience back in

FOLEY LIST: ◦ 1:32 Melvin stirring pot ◦ 1:43 Melvin eating soup ◦ 3:43 Melvins action washing line ◦ 5:09 Fergus packing pipe ✓ General bag packing sounds

01: matched - very good 02: matched - good ✓ Tightening straps on bag 01: high pitched clinking 02: high pitched clinking 2 03: bag strap tightening ✓ Shaking/moving objects

01: not matched ✓ Fabric rustling on jacket

01: matching it 02: not matching really going for it ✓ Jumper movement

01: just went for it ✓ Metal spoon on wooden bowl

01: Subtle movements and tapping at end 02: louder movements and tapping ✓ Scraping around porridge and bananas custard

01: not much sound - not picking up much signal - matched to picture 02: getting as much noise from it as possible 03: scraping with porridge - match to action 04: scraping porridge - no match ✓ Eating above

01: eating porridge - match to action 02: eating porridge - no breathing ✓ Gulping water/juice

01: Gulp sounds - initially bassy ✓ Wooden spoon on metal pot

01: matched 02: matched better 03: not matched ✓ Sloshing around wet flannel

01: matched - very good 02: not matched - also good ✓ Sloshing around water ✓ Sloshing around thick contents

0 notes

jackmaclenfypblog · 2 months ago

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Temp Sounds for the Edit

Part of my process, post shooting, was supplying both of my editors, Robbie and Krisztian, with temp sounds for their edits.

For Pickled Fish, this was only the engine sound. But since I had recorded many different car engines, and a lawnmower, as well as searching and scouring Soundly for engine sounds, I had about 30 different engine sounds ready for Krisztian to use as a placement. I think this helped his pacing of the scene, and it was also a great way for me to understand his thoughts on the length of the engine sound, and timing, when I got to sound design. Of course, I then changed the quality and nature of the sound, but the placement and timing of the engine remained the same.

For Adeline, Robbie required quite a lot of temp sound. This was because a lot of the scenes relied on creative sound design to motivate the pace of the edit, and the action unfolding on screen. We discussed this extensively over the editing process, but I also sent Robbie the following elements as a basic reference for sound.

TEMP AND CREATIVE SOUND: ADLN

A list of temp sounds for Robbie, as well as a list of creative sounds that we might/will need for the film. Elements of these lists might overlap.

TEMP SOUND:

Crows squawk

Soundly For Louise turning round

Wind chimes

Soundly For Louise turning round

Wind blowing

Soundly George for Lousie turning round – and general rain and wind ambience outside

Memory sounds

Laughter and conversation recorded from onset – as well as gravel, cooking, distant music etc.

CREATIVE SOUND:

Crows squawk

Soundly For Louise turning round

Wind chimes

Soundly For Louise turning round

Wind blowing

Soundly George for Lousie turning round – and general rain and wind ambience outside

House groaning

Soundly Sound manipulation for Louise turning around – as well as general house noises

Lamps flicker on

Soundly Wildtrack

Cover of a photo album flicking over

Soundly have a look for options for this

Memory sounds

Home Video

Wall of light

Soundly anything weird

Wind rattles the bedroom window

The house groans and bends

Lamps flicker on

Cover of a photo album flicking over

Memory sounds

Wall of light

0 notes

jackmaclenfypblog · 2 months ago

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George's Storm Eowyn Recordings

With all of my extensive wildtrack and sound library excursion recordings, the only thing I didn’t manage to record was some nice dynamic wind sounds. Ironically, this was a sound element that was present in both of my films, despite their contrasting nature.

I was chatting to George Palmer, masters sound design student, about this, and to my delight he mentioned that he had recorded Storm Eowyn earlier in late January. He was very kind and sent me his recordings to use!

It just so happened that George was looking for some interesting sounds to experiment with for one of his many cool projects he was working on. I was very happy that I was able to offer him my sound library to have a look through!

It was a very nice exchange, and one that solidified my satisfaction about recording a sound library. I think it also shines on the collaborative nature of screen academy. It really is a hub for creative people to discuss their projects and work, and sometimes be able to help each other out :)

0 notes

jackmaclenfypblog · 2 months ago

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Car Mileage Calculations Pickled Fish

As mentioned previously, I did a lot of driving over the course of Pickled Fish. Part of my work after the shoot was tallying up the amount of driving I did, so I could be reimbursed for the fuel costs.

This is also a great way to show the structure of the days, and almost acts as a type of calendar over this week for me :)

From kit pick up, to driving to set, to returning IEMs.

Car Mileage Calculations: Pickled Fish

Total Miles Travelled: 409.57 Miles

13th February:

78.12 Miles G84 7HJ (13 Havelock Place) – EH9 1PD (19 Livingstone Place) [picking car up]

14th February:

5.56 Miles EH9 1PD (19 Livingstone Place) – EH21 6RE (DMaudio) [pick up IEMs]

12.09 Miles EH21 6RE (DMaudio) - EH14 1DJ (Craiglockhart Campus) [drive to kit check]

31.12 Miles EH14 1DJ (Craiglockhart Campus) - EH39 4LG (East Road Parking) [unload kit freemasons]

26.71 Miles EH39 4LG (East Road Parking) - EH9 1PD (19 Livingstone Place) [drive back home]

15th February:

26.71 Miles EH9 1PD (19 Livingstone Place) - EH39 4LG (East Road Parking) [drive there day 1]

26.71 Miles EH39 4LG (East Road Parking) - EH9 1PD (19 Livingstone Place) [drive back day 1]

16th February:

26.71 Miles EH9 1PD (19 Livingstone Place) - EH39 4LG (East Road Parking) [drive there day 2]

26.71 Miles EH39 4LG (East Road Parking) - EH9 1PD (19 Livingstone Place) [drive back day 2]

17th February:

30.29 Miles EH9 1PD (19 Livingstone Place) - EH39 5PL (Canty bay) [drive there day 3]

30.29 Miles EH39 5PL (Canty bay) - EH9 1PD (19 Livingstone Place) [drive back day 3]

18th February:

29.76 Miles EH9 1PD (19 Livingstone Place) – EH42 1EU (Dunbar Leisure Pool) [drive there day 4]

34.24 Miles EH42 1EU (Dunbar Leisure Pool) - EH14 1DJ (Craiglockhart Campus) [offload equipment]

3.45 Miles EH14 1DJ (Craiglockhart Campus) - EH9 1PD (19 Livingstone Place) [drive back day 4]

19th February:

3.45 Miles EH9 1PD (19 Livingstone Place) - EH14 1DJ (Craiglockhart Campus) [kit return]

12.09 Miles EH14 1DJ (Craiglockhart Campus) - EH21 6RE (DMaudio) [IEM return]

5.56 Miles EH21 6RE (DMaudio) - EH9 1PD (19 Livingstone Place) [return car]

0 notes

jackmaclenfypblog · 2 months ago

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Just a Man Sound Recording

I got a message from fellow sound designer Alex, that he was unable to record sound on one evening for his shoot for Just a Man. So, I agreed to help out and joined the crew for one day :)

I was, at this point, pretty run down and tired after both my shoots, but it was another chance to get some more experience sound recording.

It was only a small shoot for me that day, around 6pm to 12am, but it was very good fun!

0 notes

jackmaclenfypblog · 2 months ago

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PFISH and ADLN Sound Reports

PFISH SOUND REPORT

DAY 1: PFISH

001: 4AS1T1 - Good - a little lav rustle but no dialogue: plonks and clatters good

002: 4AS1T2 - G

003: X - accidental

004: 4BS2T1 - Dog - not good

005: 4BS2T2 - Some dog - but better

006: 4FS3T1 - G - dialogue nice - double boom. Don’t have coverage of turn

007: 4FS3T2 - G don’t have coverage of turn

008: 4FS3T3 - G

009: 4HS4T1 - G [ALL ARMED FROM NOW]

010: 4HS4T2 - G

011: 4HS4T3 - G

012: 4GS5T1 - G - fire worse on 1

013: 4GS5T2 - G - good coverage of fish bowl line

014: X - camera needed time

015: 4GS5T3 - G

016: 4DS6T1AFS - G - all sounds great

017: 4DS6T2 - G - nice

018: 4ES7T1 - Dogs!

019: 4ES7T2 - Dogs but less

020: 4ES7T3PU - G - this one good

021: Room tone + fire Wildtrack

022: X - camera needed time

023: X - camera battery low

024: 9AS8T1 - G good coverage on both - coverage moves between

025: 9AS8T2 - boom in shot

026: 9AS8T3 - G

027: 9AS8T4 - G

028: X accidental

029: 9ES9T1 - G - potential wave at end

030: 9CS10T1 - G - some wave

031: X camera cut

032: 9CS10T2AFS - Good - wave in gap after pause

033: Ocean Wildtrack North Berwick

034: 4APUS11T1 - two takes within (a reset) endboard - G some waves

4H - 2 5 On 4 Off 1 X

4G - 1245 On

4D - 1245 On

4E - 1245 On

9A - 1245 On

9E- 1245 On

9C - 14 On

DAY 2: PFISH

001: 7JS12T1 - off axis - fire is roaring - need to get closer - not good.

002: fire Wildtrack

003: 7JS12T2 - better - dire constant but annoying - lost axis a tad

004: 7JS12T3 - better - but Melvin coverage not the best:

005: 7HS13T1 - Cut after start - not full takes slight whir for BoomM

006: 7HS13T2 - G tiny whir for BOOMM but all good

007: 7HS13T4 - G 👍

008: 7BS14T1 - Good: Fergus Lav dropped

009: 7BS14T2 - crackle on Fergus Lav - sharp crackling - all good apart from that.

010: 7DS15T1 - Good - but Lav dropped again

011: 7DS15T2 - all goood in the hoood

012: 7CS16T1Sequence - G

013: 7CS16T2Sequence - G

014: 7KS17T1Sequence - VNice - lav was funny but all good don’t need it

015: 7GS18T1 - Sweet

016: 7GS18T2 - Extra Sweet

017: 7FS19T1 - Very Good

018: 7AS20T1 - G

019: 4B21T1PU - G

020: footstep Wildtrack

7J: 1245 On

7H: 1245 On

7B: 1245 On

7D: 1245 On

7C: 25 On

7K: 25 On

7G: 1245 On

7F: 1245 On

7A: 14 On

DAY 3: PFISH

001: Wildtrack by cottage: 1 pointed up hill - 2 is pointed to sea

002: 5AS24T1 - Lavs good : rest is far away and cara

003: 5AS24T2 1 Lavs good: some cars but closer

004: bike walking Wildtrack - nice

005: 6AS25T1 - input 2 good - Fergus lav static - I think a lack of connection

006: 6AS25T2 - Good

007: 6DS26T1 - good - boom in shot

008: 6DS26T2 - Good very nice

009: 6CS26T3 - Really clean

010: SCS27T1 -

011: 6CS27T2 - Really nice

012: 6CS27T3PU - Good

013: 6BS28T1 - Good - could be a little more on axis

014: 6BS28T2 - Good - reset in this take

015: 6FS29T1 - Good ocean a bit

016: 6FS29T2 - Good - much better for packing action

017: Fake Bike - Fence WT

018: footsteps on grass WT

019: bike on grass WT

020: waves WT

021: lantern rattling against bike WT

022: 10BS30T1 - Lavs good: Little disconnection - breathing

023: 10BS30T2 - Good - some breathing at end we can use - no disconnection

024: 10BS30T3 - G

025: cycling WT

026: 10AS32T1 - Good

027: 8AS33T1 - Good

028: 8BS34T1 - Good no sync

029: 8BS34T2

5A: 1245 On

6A: 1245 On

6C: 1245 On

6B: 1245 On

6F: 1245 On

10B: 45 On

10A: 2 On

11A: 24 On

DAY4: PFISH

001: 2S35T1 - Good - knocks coverage

002: 2S35T2 - Good - slight squeak on runner tire against wall

003: 2S35T3 - Good

004: 2S36T1 - G

005: 2S36T2 - G

006: 237T1 rolling - good

007: 338T1 - Good - a little off axis: but will get coverage

008: 338T2 - Good some people chatting in background- called as take 1 and slate 39

009: 338T3 - Very Nice

010: 339T1 - Good

011: Trawler coming into harbour Wildtrack 012: 339T2 - a few cars but good

013: 339T3 - G

014: footsteps WT (boat started)

015: footsteps WT 2

016: knock on window WT

017: coordinates WT

018: metal hinge WT

019: rattling lobster cages + buoys WT

020: metal pole WT

021: chain WT

022: Squeaky thing and water giggling

023: Room tone cabin

024: Room tone outside

025: Trawler Engine WT

026: 3S40T1 - G

027: 3S40T2 - G

028: 3S40T3 - G

29: 3S41T1 - Eider ducks

030: 3S41T2 - G

031: 3S42T1 - Good: small bang in cabin

032: 3S42T2- Good

033: 3S42T3 - Good

034: Seagull WT

035: 3S42T4 - Good

SCENE 2: 2346 On

SCENE 3: 2346 On

ADLN SOUND REPORT

ADLN DAY 1: SOUND REPORT

Inputs:

Input 1 - boom (416)

001: Room Tone (pointed both ways) slight whir

002: 9BS1T1 - Action starts at 2.20 ENDB (most likely won’t use this - just sounds of dolly walking)

003: 9BS1T2 - Action starts at 1:10 ENDB

004: 9BS1T3 - Action starts 38 seconds - reset (2 takes) - ENDB

005: 9BS1T4 - Reset (2 takes) ENDB

006: 9BS1T5 - Reset (2 takes) ENDB

007: 9BS1T6 - Reset (2 takes) ENDB

008: 9BS1T7 - Reset (2 takes) ENDB

009: 9BS1T8 - Action starts 1:10 Reset (2 takes) ENDB

[002 - 009 - will most likely not use, will replace]

010: 9BS2T1 - 1 take reset multiple times

011: 9BS3T1 - Alfie talking over

012: 9BS3T2 - G small movement sounds (slight background music)

013: 9BS3T3 - G (slight background music)

014: 9BS3T4 - G (slight background music)

015: 9BS3T5 - booming low G much better

Input 2 added: boom MKH50

016: Dancing Wildtrack: 1 low - 1 high - very nice coverage

017: 9BS4T1 - Good: 1 low - 1 high (nice laughter)

018: 9BS4T2 - Good: 1 low - 1 high circling action: footsteps really good

019: 9BS5T1 - Good

020: 9BS6T1 - Good

021: 9BS7T1 - Good - some background noise

022: 9BS7T2 - G footsteps good - top boom has music

023: 9BS7T3 - G footsteps good - top boom has music

ADLN DAY 2: SOUND REPORT

Inputs:

1 - boom 416

2 - plant mic MKH50

3 - LAV (Louise)

001: 9CS8T1 - slight whir but Good ENDB

002: 9CS8T2 - whir G - nice breath ENDB

003: 9CS9T1 - G ENDB didn’t stop recording! Long take

004: 9CS9T2 - G ENDB

005: Plastic sheet WT (416 + MKH50)

006: 2S10T1 - G

007: 2S10T2 - G

008: 2S11T1 - G - slight whir

009: ? CHECK WITH ROBBIE

010: ? CHECK WITH ROBBIE

011: 2S11T2 - G - whir

012: 2S11T3 - KITCHEN ROOM TONE

013: ? CHECK WITH ROBBIE

014: LOUISE MEMORIES WILDTRACK 1 (running through memories)

015: LOUISE MEMORIES WILDTRACK 2 (laughter + calls to mum and Adeline)

016: 9AS13T1 - Cut

017: 9AS13T2 - Cut

018: Fire Alarm WT not too good

019: 9AS13T3 - Cut

020: 9AS13T4 - Cut

021: 9AS13T5 - Good - later cut

022: 9AS13T6 - Good

[not the same as camera report! Have separated in notation some time: they have 2 takes for Slate 11 I have 3] have changed my 12 to match the 13 in the camera report and on the slate - I think I have missed the change to slate 12

023: 9AS14T1 - G (plant mic - 416 - input 2 - muted)

024:9AS14T2 - G

025: 9AS14T3 - G

026: 9AS14T4 - Action starts at 1.17 G

027: 9AS14T5 - G (marked as take 4)

028: 9AS14T6 - G

[023-028 most likely won’t use]

029: 9AS15T1 - G

030: 9AS15T2 - G better plant mix

031: 9AS15T3 - G

032: 9AS16T1 - G (LAV - input 3 - off)

033: 9AS16T2 - G

034: 9AS17T1 - G

035: 9AS18T1 - G

036: Living Room RT

037: Owl WT

ADLN DAY 3: SOUND REPORT

001: AMB Bird Back Garden WT - some cars, one crow, woodpecker?

002: AMB Bird Back Garden WT2

003: AMB Birds fair distance from forest (crow)

004: Geese WT

005: Edge of forest WT - too many cars and planes

006: Forest Birds WT + walking

007: Distant Crows Forest Birds WT

[from now: input 1 (boom MKH50) input 2 (plant mic 416) input 3 (LAV)

008: 8AS19T1 - G - but light hit with boom LAV OFF

009: 8AS19T2 - G LAV OFF

010: 8AS19T3 - G

011: 8AS19T4 - G - nice breath

012: 8AS19T5 - G

013: 8AS20T1 - G - little dolly sound

014: 8AS20T2 - Action starts at 1.30 - G slightly weird kettle noise

015: 8AS20T3 - G - weird car noise

016: 8AS20T4 - G reset (2 takes)

017: 8BS21T1 - G - slight peak when Louise gets stops in room

018: 8BS21T2 - G

019: 8BS21T3 - G some peaks (reset 2 takes)

020: hallway RT

021: Child (Jessica) running WT

022: Louise running WT

023: Child (Jessica) Memories - laughing, mum, Adeline calls

024: 8AS22T1 - Good (reset 2 takes)

025: 8AS22T2 - Good (reset 2 takes)

026: 8AS22T3 - Good

027: 8CS23T1 - Good - some peaks but happy

028: 8CS23T2 - Good

029: 8CS23T3 - Good

030: Running down the stairs WT

031: 10S24T1 - Cut

032: 10A24T2 - Good - bit of light whir

033: 1024T3 - reset first - Good

034: 1025T1 - Good

035: 1025T2 - Good

036: 1025T3 - Room Tone Before Take (20 seconds) G (reset 2 takes) G

037: 1026T1 - G

038: 1026T2 - Cut

039: 1026T3 - Good

040: 1026T4 - G

041: 1028T1 - G

042: 1028T2 - G but cut

043: 1028T3 - Good

044: 1028T4 - Good

045: 1028T5 - Good ENDB

046: 1028T6 - Good ENDB

047: 1028T7 - Good (reset 2 takes) Good ENDB

048: Nibbling Thumbnail WT

049: Clock ticking WT

050: Album page flicking WT

051: Slinky WT

052: Light switch WT 1

053: Light switch WT 2

054: Rattling windows WT

055: Creaky floor WT

056: Creaky door WT

057: Kitchen fumbling + whistling WT

058: Jingly Bells WT

059: Jingly Bells X take WT

060: whistling WT

ADLN DAY 4: SOUND REPORT

Inputs:

Input 1 - Boom (MKH50)

Input 2 - Adeline LAV

Input 3 - Louise LAV

001: S3S30T1 - Good - slight whir

002: S3S30T2 - Good - boom in shot

003: S3S30T3 - Good

004: S3S30T4 - Good

005: S3S30T5 - Good

006: S3S31T1 - Good

007: S3S31T2 - Noise downstairs X

008: S3S31T3 - Good

009: S3S31T4 - Good: nice footsteps- a little LAV static on 2

010: S3S31T5 - Good

011: Scene 3 (Adeline’s Bedroom) RT

012: S13S32T1 - Good [ADELINE LAV 2 OFF]

013: S13S32T2 - Good [ADLAV2OFF]

014: S13S32T3 - Good [ADLAV2OFF]

015: S13S33T1 - Good ENDB

016: S13S34T1 - Good ENDB

017: S13S34T2 - Good ENDB

018: S1S35T1 - Good - some bird sounds SENDB

019: S1S35T2 - Good ENDB

020: S6BS36T1 - Okay - might need WT (Reset) [In1boom In2ADELINELAV In3plant mic]

021: S6BS36T2 - Cut for weird noise

022: S6BS36T3AFS - Good

023: S6BS36T4 - Good

024: Hallway footsteps 6B WT

025: 6BS37T1 - Good (No Plant Mic)

026: 6BS37T2 - Good (Plant Mic - In3)

027: 6BS37T3 - Good

028: Footsteps down stairs WT

029: 6AS38T1 - Nice!

030: 6AS38T2 - Good

031: 6AS39T1 - Good (bumped up gain)

032: 6AS39T2 - Good

033: 6C40T1 - Good - nice footsteps (In1Boom, In2ADLAV, In3LOULAV)

034: 6C40T2 - Good

035: 6C40T3 - Good

036: 6C41T1 - Good

037: 6C41T2 - Good (reset 2 takes) Good

038: 6C42T1 - Good

039: 6C42T2 - Good

040: 6C43T1 - Good

041: 6C43T2 - Good

042: 6C44T1 - Good

043: 6C44T2 - Good

044: 6C44T3 - Good

045: 6C44T4 - Good

046: 6C45T1 - Good

047: 6C45T2 - Good

048: 6C46T1 - Good

049: 6C46T2 - Noises through walls - but happy. Cut around these if possible

050: 6C47T1 - Good: apparent hit on the light shade

051: 6C47T2 - Good - but weird click at one point

052: 6C48T1 - Good (reset 2 takes) Good

053: 6C48T2 - Good

054: Dancing WT

055: Moving Furniture WT

ADLN DAY 5

001: 7C52T1 - Good

002: 7C52T2 - Rumbling of heating or vent - but good apart from that

003: 7C52T3 - Good

004: 7C52T4 - Good - but dolly hit end of track

005: 7C52T5 - Good best yet

006: 7C52T6 - Good

007: 7C52T7 - Good

008: 7C52T8 - Good

009: Scene 7 outside footsteps WT

010: 7C53T1 - Good

011: 7A54T1 - Good

012: 7A54T2 - Good

013: 7A54T3 - Hit Lamp, not useable

014: 7A54T4 - Good

015: 7A54T5 - Good

016: 7B56T1 - Good

017: 7B56T2 - NG X

018: 7B56T3 - Good

019: 7B56T4 - Good

020: 7B57T1 - Good

021: 7B57T2 - Good

022: 7B57T3 - Good

023: 7B57T4 - Good

024: Footsteps to window WT scene 7B

025: S4S58T1 - Good

026: S4S58T2 - Good

027: S4S58T3 - Good

028: S4S58T4 - Good

029: S459T1 - Good

030: S459T2 - Good

031: Not sure check with Saif and Robbie

032: S5S60T1 - Good (Alfie talking over a bit over)

033: Scene5 WT and RT

034: S561T1 - Good - marked as MOS

035: S561T2 - Good - marked as MOS

036: S561T3 - Good - marked as MOS

037: S562T1 - Good

038: S562T2 - Good

039: S562T3 - Good

040: Television WT

041: Footsteps Wood Socks WT

042: Footsteps Wood Shoes WT

043: Footsteps Carpet Shoes WT

044: Footsteps Carpet Socks WT

045: Footsteps Kitchen Stone Socks WT

046: Footsteps Kitchen Stone Shoes WT

ADLN DAY 6: SOUND REPORT

001: Random Conversation: Emily, Rebecca, Alfie

002: Emily Memory Dialogue WT Mum, Adeline, Louise calls

003: Emily laughing WT

004: Adeline Script dialogue WT

005: Adeline Script dialogue WT

006: Louise Breathing WT

007: Louise light humming WT

008: Louise light breathing WT

009: Adeline light humming WT

010: Adeline memory dialogue - real memories

011: S11S70T1 - Some peaking, especially at start, some crinkling - but really good stuff to have

012: S11S70T2 - Good - levels better - good to have

013: S12S71T1 - Good, levels much better

014: S12S72T1 - Good - NOT SYNCED!

015: S12S73T1 - Not useable - but good fun

016: S12S73T2 - Action starts at 00:58 - Not useable - can’t hear dialogue- cool sound

017: S12S73T3 - Same as above - cool

018: S12S74T1 - Same - but cool

019: S12S74T2 - Same - BUT COOL

020: S12S75T1 - same

021: S12S75T2 - LAVS UP - Same - Good

022: S12S75T3 - Same

023: S12S76T1 - Same

024: S12S76T2 - Martini 🍸 YIPEEEE - Same

025: Final DX normal room WT

026: Final DX chapel WT

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jackmaclenfypblog · 2 months ago

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Adeline Shoot

The Adeline shoot was an absolute joy to be involved with! It was definitely one of the most delightful and happy on set environments I have been on. Everyone was very lovely, and we all worked together so well.

I honestly don’t think there was a negative moment between any of the crew throughout the full shoot. Which is just amazing to be able to say. And an experience I am very grateful for.

We spent the first day in Voodoo rooms, then moved over to our main location in West Calder and then returned to Edinburgh for our final day in Craiglockhart shooting the Wall of Light scene.

I was once again driving for this shoot, and considering we were staying on location, I did a lot of driving! Mostly picking up and dropping off secondary crew from the train station and driving to the shops to get food. It was such a nice place, and I do love a drive, so I wasn’t complaining!

I was working with Roddy as my boom operator! Which I have done before, and can I say, would always again. Roddy is not only a fantastic boom operator, but also a lovely, kind, and fun person to be around, so it made the whole experience a real joy!

The shoot, in terms of sound, was pretty simple. Focus on production sound and action when there is no dialogue, and when there is, well, you know the score.

The main thing I seemed to do was record wildtrack. Despite my extensive list and organising with Alana, the 1st AD, I actually got most of my wildtrack after we finished shooting, in the evenings. Since we were staying on location, at least the HODs were, it meant I could record a lot of fantastic sounds without the pressure of time constraints on set. I got a lot of nice ambient recordings, as well as specific sound related to the environment – such as footsteps of all varieties. I was also able to spend time with the actors getting wildtracks for the memory section of the film. This was fantastic and really helped us in the sound design. Alfie would give them prompts, some suggested by me, and we would record things such as them saying ‘mum’, ‘Adeline’, ‘Louise’, and laughing, speaking of memories, humming and much more.

I used the plant microphone again, which helped get coverage of all action. It’s definitely something I think I will plan to record with on future shoots.

I really enjoyed my time on the Adeline set! It was very lovely, and I think we got some really brilliant footage, and sound!

There was even a resident cat (who I think was the real director)!

Also, when I was busy recording wildtrack of the ambience surrounding the cottage, I went on a little adventure into a woods that was very far from the main road. I thought I would include the video here - as its just very beautiful, and gives you an idea of the serenity of the setting:

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jackmaclenfypblog · 2 months ago

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Pickled Fish Shoot

Well, here it is, the much anticipated Pickled Fish Shoot.

To summarise in one sentence: the shoot was an absolute blast!

It was a four day shoot, and it felt very well organised, and went really smoothly. We spent the first two days shooting interior in the cottage, the third day shooting exterior shots, and the fourth and final day on the fishing trawler.

I was one of the drivers for the shoot, my car group included Sophie, the script supervisor, Krisztian, our editor, and Yat and Michael, my trusty boom operators. This meant it was really long hours, and I didn’t get the luxury of shutting down and relaxing outside the shooting hours – but I felt this need to get awake and aware really helped me keep my focus sharp throughout the week.

My extensive research and planning on double booming was finally put into effect, and Me, Yat, and Michael quickly built a really good and effective working relationship. We made sure we were set up quickly, always organised our kit neatly, attached the LAVs to the actors quickly (and most importantly in a friendly manner!), and then made sure we knew what we were shooting on what day, and discussed our approaches. We had a lot of kit to handle, and this meant keeping everything on order and being on the same page was essential to keep everything running smoothly. Having Yat and Michael with me on this shoot was just amazing. If ever I didn’t have the time, or wasn’t able to do something, even as simple as cable wrangling, or packing away the radio microphones, they took the initiative, and had it done before I could notice.

I really believe recording sound on Pickled Fish was my most ambitious sound recording process, but most definitely, the best and cleanest sound I have ever recorded for film. I was absolutely delighted that my double booming approach worked!

I made a conscious effort to stay positive and communicate clearly in times of stress and tiredness, and I think it made a difference to keeping the momentum going throughout the shoot. Our sound team did our best to work well with the camera department, and Kyle, our first AD.

Over the days, we managed to record each scene cleanly, and despite sound issues for sound – such as the fire in the cottage, or the dogs barking outside – we achieved what we set out to do.

The trawler day was for sure the most challenging day, as mentioned in my post on the boat recce day, but I was able to get clean recordings of each take. It was just a lot of kit to handle by myself. Eddie Dougal even turned the engine on for me when I was recording wildtrack during lunch!

I also took the opportunity to record as much wildtrack as I needed – I discussed this with Kyle, and he made sure I had the time for this. Thanks Kyle!

It was a really brilliant shoot, and one that I learned a lot from. It made me a lot more confident in my sound recording abilities, and made me realise that this is something I would love to continue to do in the future.

I have included some pictures of the shoot above :)

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jackmaclenfypblog · 2 months ago

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Cernunnos Boom Operating

I was unexpectedly and surprisingly called by my good friend, and talented writer and director, Kyle Craig, at around 9pm on a random day in early February. He was busy shooting Cernunnos, one of the grad films, and they had the unfortunate and unforeseen dropping out of their boom operator on the next day. He was joined by Gaby, the sound recordist and sound designer, and they asked if I wanted to join them the next morning in Peebles to be a boom operator for one day.

I knew that Gaby would have been more than capable of recording and booming herself, but I think because they had an executive producer present on set, it was best to find a replacement. I thought it would be a fun opportunity for a nice trip down south, and its always nice to help out where possible. So, I agreed to jump on board!

I was also asked to pick up a roman shield that had been left in Edinburgh, so I quickly jumped in an Uber and picked up the roman shield that night.

The next morning, I arose, excited and equipped with my shield, and got the bus down to Peebles. I was swiftly picked up from the bus stop by a driver and taken directly to the shooting location. I was greeted by very happy faces and hugs and was given a boom pole and set to work.

It was a very lovely and positive on set experience, and one I enjoyed thoroughly. It was a nice way to start my shooting window. I was fed well, and had a blast working with Gaby, someone who I have worked with countless times before, and would do many times again!

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jackmaclenfypblog · 2 months ago

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Adeline Wildtrack Scheduling

Something that was really important for my sound process was to ensure that I was able to record all of the wildtrack I needed. This was especially important for Adeline, as we had minimal dialogue, and therefore the production sound acts as the main anchor between the audience and the action on screen.

That meant I didn’t want to lose any aspect of the sound recording. This is something I discussed extensively with our 1st AD Alana. She was amazing at considering my wants for sound and always tried her best to give me all the time I needed, within the really busy schedule! I am very thankful for this.

I think getting these wildtracks was so important. The way I weighed it up in my head was that anything we got on set, or on location, saved precious hours in post - rather than me having to surf through sound libraries for sound recordings that most likely wouldn’t match the space, materials, or action.

Below is a scheduling list I first sent to Alana, so she had all of information needed on what the sound department wanted to record. I then, over the days spent on location (we stayed overnight on location) added the remaining section and planned when I could record after shooting hours.

Wildtrack Scheduling List: ADLN

SCENE BY SCENE BREAKDOWN

Preface: This is a brief list of expected sound elements within the script that will need wildtrack. This will definitely be subject to change as we won’t know until we are on set whether we will need wildtrack or not. You only need to pay attention to the writing noted in red – however, writing noted in blue will still be recorded on set – but this can potentially be done after we wrap each day. (There’s a final list at the top if you want to skip all the bullshit) :).

FINAL LIST OF IMPORTANT WILDTRACK:

Room tone in every location: each room (people and equipment consistent with shooting). 1 minute recording for each location.

Child laughter and memory dialogue: Need this on the day when the child actor is on set. Will need 30 minutes – 1 hour.

Adeline laughter and memory dialogue: Need this one of the days Adeline is on set. Will need 30 minutes – 1 hour.

Louise laughter and memory dialogue: Need this one of the days Louise is on set. Will need 30 minutes – 1 hour.

Louise is helping Adeline bath; she is audibly uncomfortable: grunting of Adeline in bath. Will need at most 15 minutes.

Reel-To-Reel Whir This will be paired with room tone.

Veiled dancers dance 5/10 minutes.

Ballroom dancing movement: record the movement of the dance on set. 5/10 minutes.

Abyss lines of dialogue 5/10 minutes

Wall of Light lines of dialogue 5/10 minutes

Undecided extra movements: we might need to get some movements we don’t pick up cleanly.

KEY:

RED: Anything noted in red will be important to get on set.

BLUE: Anything noted in blue can be recorded after shooting hours on location.

GENERAL:

Room Tone

I will need recordings of room tone on set with the sound of the people and equipment in the room. I will also record tone on location in empty rooms, after shooting hours

Footsteps

I will record footsteps on each type of floor -in the suitable footwear

SCENE 2:

Sound: as described in script

Approach of recording

Nibbling her thumbnail

We can get this on set (if we don’t get good coverage) or after shooting hours

She rolls a pill between her thumb and forefinger

This can be recorded after shooting hours

SCENE 3:

Door creaks open

Find a creaky door

SCENE 4:

Louise is helping Adeline bath, she is audibly uncomfortable

This will be important to get a recording of this action – even without water. This would be best on location in the bathroom

SCENE 5:

Television noise

We will need to record the sound of the television on set without any action beside it – a full run through of the track. The television should not be playing audio during takes for ease of editing and post sound: Do this after!

THIS TAKES 12 MINUTES TO SET UP!!!

SCENE 6a:

She flicks through a photo album

Most likely will good coverage on set: but very useful to record anyway

Get speedy coverage of this! Flick fast

The sound of furniture scraping across the floor

This will be very important to get coverage of – but this can be done outside of shooting hours

Rain rattles window

Rattle the windows: got the rain sound

SCENE 6b:

Off-screen, a deep thump. A carpet being shaken out

This will be best recorded on set: both close and from the perspective of Adeline. Can be done later in the day

SCENE 6c:

Reel-To-Reel Whir

Get this on set in space: could pair this with room tone – record whir first – turn off Reel-To-Reel and go into room tone

SCENE 7a:

Clock ticking

If possible – it would be good to have the clock turned off or removed from the location when it is not in shot – as we will be replacing the ticking. Similar reasons for not playing music during takes – useful for edit. Get a recording of this up close – sounds very nice

Louise counts out pills beneath it. Gently dropping them into a pill tray. Tap, tap, tap.

Will probably be fine for this one – but could get it

Off-screen Louise fumbles through the kitchen clutter

We can get this either on set or after shooting hours

SCENE 7c:

THE NOISE

This is going to be either gust of wind, a house groan, crows cackling, wind chimes etc.

SCENE 9a:

Flicking a light switch

Get it after with all the other wildtrack: probably will pick it up anyway

Many lamps and lights flicker to life

Soundly will most likely help with these sounds: but recording different varieties of lamps will be really good to have

Veiled dancers dance

It would be great to get wildtrack coverage of this: just in case we can’t get enough during takes (hard to replicate)

SCENE 9b:

Ballroom dancing movement

It will be very important to get a recording of this – in order to help easing through patching up cuts between takes

SCENE10b:

She eyes the album tentatively, brushing her hand over it

Most likely don’t need this – but might need to get it. Check dailies. Or just remember

MEMORIES

Get anything and everything: boots, wind, leaves etc

EXTRA SOUNDS:

Child laughter and lines of dialogue

This will need to be recorded the day when the child is on set: and prepare for this before!

Louise laughter and lines of dialogue

This will need to be recorded on one of the days that Louise is on set: and prepare for this before!

Adeline laughter and lines of dialogue

This will need to be recorded on one of the days that Adeline is on set: and prepare for this before!

Crocodile and owl thing (Cara’s production design)

Get a recording of this – would line up with radiator piano recording

BLUE WILDTRACK SCHEDULE:

Filming days on location + Scene to day allocation:

Wednesday 26th – 2, 9A, 9C

Thursday 27th – 8A, 8B, 8C, 10

Friday 28th – 3, 1, 13, 6A, 6B, 6C

Saturday 1st – 5, 7A, 7B, 7C, 4

WILDTRACK AVAILABLE DAYS (AFTER SHOOTING HOURS):

Wednesday night

Thursday night

Friday night

Rooms in location:

Kitchen

Living room

Stairs

Hallway

Bathroom

Bedroom

Extras:

‘Empty’ room tone in each room

Footsteps in each room

Crocodile and owl thing

Memory sounds (boots on gravel, stirring pot, other things etc.)

Garden bird recording (by the bird feeders)

AMB wind trees front garden

AMB back garden

Scene 2:

Nibbling her thumbnail WED

Rolls a pill between her thumb and forefinger WED

Scene 3:

Door creaks open FRI

Scene 5:

Television noise – full run through (this takes 12 minutes to set up) SAT

Scene 6a:

She flicks through a photo album FRI

The sound of furniture scraping across the floor 3RD NIGHT (FRI but THUR)

Rain rattles the window FRI

Scene 6b:

A deep thump (this can be paired with furniture moving) (FRI but THUR)

Scene 7a:

Clock ticking SAT

Louise counts out pills beneath it. Gently dropping them into a pill tray. Tap, tap, tap. SAT

Off-screen Louise fumbles through the kitchen clutter SAT

Scene 9a:

Flicking a light switch WED

Many lamps and lights flicker to life WED

Scene 10b:

She eyes the album tentatively, brushing her hand over it THUR

FINAL WILDTRACK SCHEDULE:

WEDNESDAY:

Nibbling her thumbnail

She flicks through a photo album

Clock ticking

She eyes the album tentatively, brushing her hand over it

Off-screen Louise fumbles through the kitchen clutter

‘Empty’ room tone in each room

Footsteps in each room

Crocodile and owl thing

THURSDAY:

The sound of furniture scraping across the floor

A deep thump – carpet (this can be paired with furniture moving)

Flicking a light switch MAYBE

Many lamps and lights flicker to life

Memory sounds (boots on gravel, stirring pot, other things etc.)

FRIDAY:

Television noise – full run through (this takes 12 minutes to set up)

Door creaks open

Rain rattles the window

Garden bird recording (by the bird feeders)

AMB wind trees front garden

AMB back garden

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