Audio Post-Production

Audio post production is a multi-faceted artform. Using nuanced techniques, I facilitate the client’s vision by heightening a project’s emotional landscape through sound. “Before/After” examples are the best way to understand the role of audio post since much of what we do is deceptively unnoticeable in order to support the visual medium.

Sound Design - Before/After Examples

“The Pine Barrens” directed by David Kessler / Studioscopic. (Documentary)

After a late revision the director requested that diegetic nat sound be added to the jeep sequence. However, apart from the initial engine sound, all audio from that day’s shoot was lost. The director and I spent a day on location recreating the scene using similar model vehicles, which I then edited and layered with additional Foley splash sounds to reproduce what the original audio should have sounded like.

 

"The Lost Within" directed by Steve Gibson/Fist In Post Films. (Drama/Thriller)

When John gets a lead on a subject for his new book he must venture into unfamiliar grounds. For this scene, the director's request was to "make the apartment building sound like a run down, loud, and chaotic place to live". 

This is an example of how basic sound design techniques like layering clips, panning, EQ, and using convolution reverbs can create a diegetic reality to help us understand what a character is going through.

 

Dialog/Practical & Special Sound Effects

“Bathroom Troll”, written and directed by Aaron Immediato, is a comedy/horror short film. Certain aspects of the sound design are a stylistic nod to films like Brian De Palma’s “Carrie”. Below are extended versions of the same scene in one video.

The first clip, is straight off the OMF file without any audio post production work. With the dialog, listen for fabric noises on lav mics and the differences in ambience between shots. The phasing effect on the dialog is from the boom and various lav tracks playing simultaneously, as this example is pre-dialog edit. You’ll also notice the obvious lack of practical and special sound effects and the looped scream at the end, which was done to convey that the director wanted a long sounding scream.

The second clip (starting at about 3:30) is after audio post had been completed. Beyond the obvious improvements in the dialog careful considerations were made to create the right ambience of this scene’s sacred space. The cicadas played perfectly as both practical ambience as well as an effect to blur the lines between diegetic and non-diegetic worlds toward the end of the scene when the troll emerges. This scene has a little of everything, from replaced footsteps to the over-the-top schlocky humor of the “Carrie Stabs”

 

ADR/Foley - Before/After

"Phaesporia" directed by Carman Spoto / Swine Films - Artemis comforts Kali after an attack in the woods. A generator too close to set combined with early morning birds made for unusable production sound. Director's request - "keep it intimate but blend the diegetic atmosphere with the composer's score".

 

Sound Design for Trailers

Mixing and creating sound design for movie trailers requires a different approach to the kind of work we do on the main project. It’s more than just creating crossfades between stems. Trailers need new and unique sound design that may not be appropriate for the parent project. Fortunately, this allows us to spread out creatively to find new ways to draw in a viewer’s attention. Check out the trailer to director Tim Harris’ new short, “Mr. Y. Not”.

 

Sound Design for Motion Graphics

The music and voice overs have been removed here to showcase the sound design behind the motion graphics and typography, title cards, animations for explainer videos, lower thirds and social media icons. My work can be done in conjunction with larger projects or as one-off smaller jobs with very quick turnarounds.

 

Spatial Audio for VR and 360 Video:

What is it and why do you need it?

Spatial Audio elevates your immersive visual work, enveloping the viewer deeper into a three-dimensional world by using localized sound that changes according to your head movement.

Below are three examples of 360 video using a prosumer level 360 camera*** Spatial audio is a new and evolving technology. Youtube currently requires that the latest version of Google Chrome or Firefox be used on a desktop browser or a newer Android (Galaxy S6 or later) if on a mobile platform. Spatial audio is not currently supported on Safari.

This succession of examples showcases what can be done with your 360 videos when no ambisonic recording is present while filming. Use your mouse (or finger) to adjust your POV. Headphones must be worn to properly hear spatial audio. Use slow pan movements for the most realistic results when playing the third example. Changing your POV using a normal quick mouse movement is the equivalent of jerking your neck quickly and will produce unrealistic results on this platform.

The first example contains a simple stereo track from the camera recording. You’ll notice that the spatial image is locked regardless of where you choose to look.

The second example contains that same camera audio but now as spatial audio, which is married to your POV. Here you’ll noticed that while the spatial information changes it also leaves a large hole in the sonic arena adjacent and behind your visual POV.

Finally, the third example retains elements of the original camera audio as well as added sound design to provide the viewer with a more immersive experience. Watch it more than once and change your POV each time. Notice where the train sounds while your facing it vs turned away from it. Listen for the white car at the end of the video and adjust your POV to hear how it’s place in the sonic area changes with your “head movement”.

 

Scoring

A growing playlist of film score excerpts.  All pieces, diegetic and non-diegetic written / arranged / performed by Eric Carbonara   

 

Multi-Track Recording for Concert Footage. 

Check out a playlist of some multi-track recording I've done for live concert video. Camera, editing, and mixing work done by Christopher Andrew Studios