Monday, September 13, 2010

The second audio post-production

Christopher Higgs, a freelance sound engineer worked on our sound.

Chris at work: That's not the sound of a kapchai, that's Harley Davidson's, said us when choosing the ambience sound for the film. Sheridan wrapped. Sejukkkknyaaa

He tweaked, peaked, sharpened, dulled, lowered, cleared and ultimately highlighted what should be heard on the film. He worked in a freezing temperature sound suite wearing cotton short sleeves and Bermuda khakis, while production consultant Anna, Sheridan and I were wrapped to our necks in flannel blankets.

The eight scores composed by Don evoked the right emotion and heightened the meaning of the scenes perfectly.  It was at this studio that we figured out how to add impact to the ending. We tried so many things on creating a forceful ending but none really worked, like a sentence without a fullstop. It hung, floating about, aimless.

Maybe a matchstick sound effects? Chris added the sound of a match being lit. No, it still did not punctuate the film and gave it a solid ending.

How about this, a fireball? Chris dug it out of his sound library and added to the matchstick sound. He forged those two sounds and what emerged was the sound of a lit matchstick lighting up flammable fume.

It worked. Like magic.

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