SOUND DESIGN
original, textured, recorded/found sound, powerful, manipulation, natural, field recordings.
To capture authentic and natural field recordings of ambiences using an ambisonic microphone which will give us the opportunity to convert them into ATMOS or 7.1.2 if desired.
This would involve us purchasing a Rode NT-SF1 and accessories.
We already own multichannel recording equipment and mics for spot fx recording.
Using a high-frequency microphone means we can record sounds in a full range which the ear cannot naturally hear so when slowed/pitched down, it does not affect the quality of the recording and destroy it with artefacts. We would also record all our sound at 192khz which will also aid this. Regular sound effect libraries are recorded at 48khz or 96khz.
We would purchase a Sanken CO-100k for this, the only microphone on the market that does this.
In addition to the mics above, we aleady have access to, shotgun mics and lapels for any ADR we may need to do. We would be bae to hire out the studio in Soho for these sessions too.
We have Hydrophones, electromagnetic and contact mics too. Would be great to play audio underwater (screams etc) using a waterpoof speaker like the UE Wonderboom portable speaker and then record these in using a hydrophone. We can record some of his screams or use the ones already recorded and play them out It'll pick up a more natural sound. We can also record our own submerging audio for when he goes underwater too and have a more natural going underwater sound.
With the contact mics we can pick up subharmonic information and vibrations
No bird song, layers of wind and waves. layered up using natural recordings, and recordings of movement of found objects on different surfaces. Creating subharmonic information to compliment the wind and ambient sound. Using animal and human vocalization to provide extra texture to environments. All sounds could be controlled through sampling and pitch modulation to provide movement. Individual elements of wind and environmental sounds which could move through the scenes.
I would like all sound to be as authentic as possible and therefore recorded specifically for the film.
I would recommend we have foley recorded either by a dedicated Foley studio (perhaps abroad) or a combination of it as I assume on our field recording trip there would be a lot of spot fx recorded too. We could also arrange this to be done at the studio that I work at in Soho.
It would be amazing to do the film in Atmos, but the budget may not stretch that far. We would definitely be able to provide 7.1 and an opportunity to expand that to atmos in the future or if the budget is there.
MUSIC
original, textured, minimal, powerful, musique concrete, sampling, recorded sounds, layered chello, choral.
I think it is important to link the music to the sound design so that they work hand in hand and complement each other.
The music should be different, it shouldn't even feel like music, it should be emotive and created from textures with musical elements to accompany and complement it.
Ideas would be to record using the ambisonic and co100k microphones where possible. Recording live in different reverberant spaces, a large church, a smaller church, a cellar, a long corridor, creating different reflections for the music. We can also playback anything we have created using a loudspeaker and play it back into the space to create an authentic reverb rather than relying on plugins. example in video at 3:20.
I would propose hiring Abi Wade to record chello in some pieces where we feel its needed, again creating layers on her chello and different unusual sounds rather than just the traditional strum or pluck.
Lets fill a piano with different objects and record the sound of them, lets use contact microphones, electromagnetic microphones, the cos100k to record new sounds.
Artists to listen to:
Johann Johannsson - End of Summer
Hildur Gudnadottir - Chernobyl
Mark Korven - A Witch Stole Sam
Mark Korven - Calebs Seduction
