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".
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.