Contribution – Multi-film Audio – GB AUP 3rd Year SEM B

Contribution Overview

13421070 / May 6, 2016May 8, 2016 / Contribution

Below is a breakdown of the contributions I’ve made to the various aspects of the project and the artifact. [PER4]

Descent Production –
Supervision of audio production on behalf of Omni-Gaffer – 100%
Location Audio Mixer – Full shoot 3 days (100%)
Foley artist and editing – 80%
Production audio edit – 100%
Dialogue edit – 10%
Dialogue premix – 100%
Atmos and SFX – 100%
Dub Mix – 95%

Other productions –
Immort – Atmos / SFX – 30%
Immort – Foley Artist – 20%
Immort – Location Audio Mixer – 1 day (10%)
Feel Good – Foley Artist – 10%
Feel Good – Atmos / SFX – 20%
Remember – Atmos / SFX – 30%
Remember – Location Audio Mixer / Boom op – 1 day (10%)
Remember – Dub Mix – 10%

Tasks related to the company / group (Hourly, as not possible to quantify a percentage) –
Admin (consisting of booking and managing facilities / emailing / production meetings / collaborative quality control etc, as detailed elsewhere) – 32 hours
Meetings – 35 hours

Other related work –
Transportation of equipment to various locations for various productions.

Breakdown of hours worked –

Total Admin / Meets – 67
Total Creative – 123
Total Location – 52
Total Other – 2
Total Hours Worked – 244

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Breakdown of contribution to the project and hours worked – Contribution.

[GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.
[GR3] To provide a professional standard of service in respect to location sound recording and post-sound design / mixing.
[GR4] To conceive, compose, source and / or produce music to client specifications that synergistically supports the other components of their films.
[GR5] To produce soundtracks comprising of foley, SFX, dialogue, music and atmospheres to client specifications that synergistically support the other components of their films.

RESEARCH – Deciding My Rates + How Much OG Was Worth

13421070 / May 5, 2016May 7, 2016 / Contribution, Individual Reflection, Process Management, Research - Company

(Outcomes – PER1, 2, 4, GR1)

As part of this final term project I decided to fix a set of rates for work which I intend to use as guidance for my actual rate-card post-university. This also enabled me to convert the work I carried out on the project this semester into an approximate monetary figure.

I asked Grant Bridgeman for a copy of his rate-card to use as a basis for this though as a multi-award winning location recordist and post-sound bod, Grant is already well established and hence so my own rates would be relatively low. I’m also going to dispense with equipment hire costs etc (though these are furnished in detail on Grant’s rate card) for the purposes of this calculation, since I’m interested in the labour aspect of the equation here, really, and am considering the situation as though I am charging the time back to a central body (so, if Omni-Gaffer were a limited company, for example). [PER2]

Grant’s rates are in line with BECTU’s, the entertainment sectors trade union, which I have also studied and as such I’ve pitched at slightly above the trainee rate therein:

Daily Rate

Sound Recordist rate is £150 per day, up to 10 hours, additional hours charged at £25 per hour or part thereof.

Weekly On Set Rate

5 Day Week, 10 Hour Day – £750

Post Production Rates

Daily Rate, 10 Hour day (inc studio) £150

Hourly Rates (inc studio) £15 per hour

Post production rates here are the rates a studio I work for charges for recording and producing bands at present.

Next to convert the Omni-Gaffer project into monetary terms using these rates, we first need to know what amount of time the project consumed and how many of these hours are realistically chargable. I’m thinking of myself as invoicing a central body (like a limited company) for my time here, in reality any financial rewards for a project like this in the real world would be split up according to the OG Audio agreement.

My calculations since February 1st of the hours I invested in this project are below:

Total Hours Worked – 244
Total Admin / Meets – 67
Total Creative – 123
Total Location – 52
Total Other – 2 [PER4]

Only location and creative work (which encompasses everything taking place in the studio for post work, essentially) are directly chargeable, as admin and ancillary work would be expected to be built into the hourly charges for the services. As such, we can break down the chargeable costs as follows –

1 x 5 day week of 10 hour days on-set = £750
2 x additional hours on set at £25p/h = £50
12 x 10 hour days of studio time = £1800
3 x additional studio hours @ £15 = £45

This would bring my invoice total at the rates above to £2645 which can be divided by the creative and location hours (123+52=175) to give the hourly figure of £15.10p/h, as per the rate care. However, when divided by the actual number of hours the project has consumed (including the administrative time etc), this equates to £10.84p/h. This would also be subject to income taxes etc, depending how my personal business was set up.

In reflection on these figures, it is easy to demonstrate that administrative tasks eat away at profit in an enterprise such as this which begs the question – did the increase in organisation and administration justify working collectively in this way? If we assume that the income from the five projects would be enough to cover this invoicing-for-hours-worked approach for a moment, the boon becomes the fact that working with my colleagues in this way has enabled us to complete multiple projects at all (I could not physically have invested more time in this project during the period) which in effect multiplies the income potential in return for a relatively modest increase in administrative and organisational time. [PER1]

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KEY POINTS –

Researching industry rates of pay – Research

[PER2] To develop a better understanding of the wording and content of contracts, rates and rate cards offered in the film audio field.

Exposition on hours worked – Contribution

[PER4] To contribute extensively to multiple film productions.

Interpretation of contribution through hourly rate and reflection on interaction with group collaboration – Individual reflection on learning and team role.

[PER1] To develop a better understanding of the pros and cons of business structures, processes, regulations and agreements which might enable film audio producers to collaborate on multiple projects.
[GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.

P + P Other – World Building – Street Scene

13421070 / May 1, 2016May 8, 2016 / Contribution, Individual Reflection, Process Management, Research - Film Audio

(Outcomes in this blog – <IN3> – <PER 1 + 3> – <GR 1, 2 + 5>)

I very much wanted to tackle the sound design for the futuristic, post-nanotech city scene from Immort as part of my work on this project, and was able to make a start on this as the film was being shot thanks to early provision of an animatic of the film. Below is the evolution of the scene from my initial mockup to the picture lock version handed over to the supervisor who also mixed the film.

Immort’s supervisor had initially produced a detailed sound design plan for the film, which formed the basis of my initial approach to the scene’s construction.

https://www.youtube.com/watch?v=xOPA2XrnVUg

I looked immediately to Blade Runner – which includes the great street scene of sci-fi film with an insanely complex audio mix carried out by Graham V Hartstone – but the feel for Immort is intended to be different in terms of the behaviour of the characters. Lot’s of the specific things seen on screen in Blade Runner have their own tiny, almost momentary sound narrative set against the extreme bustling of the city defined by sirens, wails and pulsing humanity. By contrast, people in Immort’s world are quiet and contented, even if they are constantly beset by their connectedness thanks to their constant HUD’s. My initial mockup backdrop tried to hit similar notes to Blade Runner in the sound of humanity being strongly signified, though it’s very difficult without the specificity of actual picture available to work from. The mockup below is constructed almost entirely of heavily manipulated samples, with a couple of simple keyboard drones from Protools soft synths. It’s ugly, but gives an idea of where I was going. <IN3>

I had to change approach after discussing with Immort’s supervisor during the session in which I constructed it. He’d just come off set for the film with a better interpretation of the directors requirements and the outcome of the actual shoot for the scene. His location experience with the film told him that the extras would be considerably sparser than first implied, so lots of humanity in the audio pallette would likely not work. We arrived at an idea of generally quieting the people with bursts of the sound of their personal soundtrack as they pass-by, and the base layers defined by the unearthly hum of a nano-technological city. <GR5 + PER1>

My first attempt at following this direction up was done to a rough, no vis-fx rough cut of the film, and can be seen below –

Seeing this actual picture, the visuals turn out to be much more down to earth. Both budget constraints and a lack of extras mean the scene has ended up much sparser and near-future than the one I initially envisioned even if we discount the lack of VFX in this cut for the moment. As such I retooled the atmos more in the direction of Invasion of The Body Snatchers (the 1978 version), muting the drone of the people and trying to bring out a sense of disconnectedness (largely using manipulated foley FX and further samples, in line with the protaganists desire to be unplugged from the matrix and the suggestion of enslavement to their technology causing them to take greater care as they move around the real world. <GR5>

Instead of solid footsteps the extras feet are muted and shuffling, for which I referred to multiple scenes from Bodysnatchers like the scene linked below which dispenses almost entirely with ‘human’ foley even in crowded scenes to emphasise the distinction between the protaganists and the masses. This feel was fortuitously enabled by the incredibly well regimented ‘crowd’ at the end of the scene. There is a nod to the Blade Runner approach however, in that the HUD’s of some of the extras are momentarily given life in the audio realm as the protaganist passes them. <IN3>

Finally, this work was passed over to Immort’s audio supervisor in stem form and was incorporated into his final mix of the scene, which is backed by a music track to heighten the sense of chase and sounds which relate to the new visual FX absent from earlier cuts. <GR1 + GR2>

Reflecting on this work, I think the whole process here demonstrates once again the power of picture over the audio dimension and the importance of finding synergistic balance between them. As such I think I may have wasted a little time attempting to construct anything useful for this scene from the animatic and should have foreseen that the production would not achieve the levels of production they desired, though the early work was still very useful as an opportunity to dissect the scene’s from Blade Runner and Bodysnatcher’s critically and take lessons from them, and it certainly informed the final piece in an overall positive way in the end. <PER3>

Furthermore, the process is an example of the way the group of audio producers collaborated on aspects of the films. If I had been limited to working on the film I supervised, which was shot entirely in one location, I would have been unable to build, experiment with and compare and contrast the atmosphere work in various films as I did here, a process with which I was able to usefully fill time prior to the arrival of work on my own film, which in turn benefited the group outcome. <GR1 + GR2 + PER1>

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Key Points

Examination of Blade Runner and Invasion of the Bodysnatchers as reference for work – Evaluate similar works

[IN3] To better my understanding of sound design with at least some reference to the science fiction genre – (Sound Effects Editor)

Construction and evolution of the audio for the scene – Application of skills and conduct in production

[PER3] To expand my knowledge of the theory of and audio techniques deployed in films similar to or influential upon those we will deliver.
[GR5] To produce soundtracks comprising of foley, SFX, dialogue, music and atmospheres to client specifications that synergistically support the other components of their films.

Reflection on the work – Individual reflection on learning and team role + Process Management.

[PER1] To develop a better understanding of the pros and cons of business structures, processes and agreements which might enable film audio producers to collaborate on multiple projects.
[GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.
[GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.

P + P – Location Audio Contribution

13421070 / May 1, 2016May 8, 2016 / Contribution, Descent Contrib., Supporting Material

This post is just a quick precis of the location audio work I was involved with in pictures and videos, for the sake of evidencing of contribution. [GR2 + GR3 + PER4]

Shots from the set of Descent

We get our mics everywhere –

SUPPMAT - Radio Pack 1

…and we get everywhere –

SUPPMAT - Crew SUPPMAT - Understairs SUPPMAT - Kitch 1

Shots from the set of Immort –

Cramped conditions are us…

Shots from the set of Remember –

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KEY POINTS –

Photographic and video evidence of location audio work carried out for three films – Contribution

[GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.
[GR3] To provide a professional standard of service in respect to location sound recording and post-sound design / mixing.
[PER4] To contribute extensively to multiple film productions.

P + P – Progress Report – February

13421070 / April 10, 2016May 7, 2016 / Contribution, Individual Reflection, Process Management

(Outcomes GR1,2 + IN1 + PER1)

All the films we’re working on have now begun shooting except Descent which has not confirmed a shooting schedule but does have it’s location confirmed and actors onboard – The audio team have carried out the requisite location recces and have received preliminary dates for which we’re awaiting a confirmation. Issues stem from matching actor availability with the possible shooting dates, but communication is good with the production managers of the film, contingencies have been discussed and are in place should it begin to fall behind schedule.

All the supervisors along with various team members and composers have organised and met with their respective directors and teams multiple times to feedback on the direction for sound design, based initially on director notes or conversations. All the pieces of work now have a more or less solid creative direction underpinning them on which the team has collaborated through a series of creative meetings and script read-throughs, largely at my insistence, in an effort to head off the production process for each film becoming the isolated province of it’s supervisor. Supervisors retain the final say but ideas for films are sourced collectively, and our composers are assigned and largely briefed regarding each film’s musical requirements by the supervisor who then decides whether to allow the composer to deal direct with the director on their film. I will also be pushing for feedback on composition to be a similarly collective process where desirable as the projects continue. [GR1, GR2]

In pushing for this more collaborative approach across the group, I am attempting to set the agenda for something akin to an Omni-Gaffer communication management strategy. This is a concept I picked up during a brief research foray into the literature of the Prince2 project management system, a recognised qualification for managers in the UK. A major project with a larger team would likely have a written and structured system of making sure information is properly shared, and collaborative outcomes and the structure’s to facilitate these collaborations would likely be properly stratified and reported upon, which ‘…facilitates engagement with stakeholders through the establishment of a controlled and bi-directonal flow of information.’ (Managing Successful Projects with Prince2, 2009, 239) [PER1]

As Descent is filming later, I’ve tended to fall into the role of firefighter for the other supervisors who’s films are in motion and have been called upon several times to cover location shoots, move equipment and perform administrative tasks (like booking equipment when other people are on set). Creatively, I’ve managed to get a headstart on some of the atmosphere’s for Immort which will be used to explain our audio direction during a spotting session with the director this week and as a base for future work, and am collaborating as a writer performer on one of the compositions for that film. The following week (which is likely the one before which shooting will commence for Descent) will also be spent building audio devices which might be suitable for use in Descent. [IN1]

Planning research into the foundations of the ‘company’ style structure has been my focus but I’ve fallen behind in carrying this out – thrashing out a ‘formal’ agreement (in the context of academia at least) between the members of the organisation who are carrying out these services is the next priority here. We’re all tracking our hours of work on any given project and intend to ascribe some kind of goodwill value to each component and phase of the project throughout it’s life, which we intend to be the ‘currency’ in which we’re trading. I must be wary of how easy to get caught up in administration and practicalities, and end up taking my eye off the ball of the academic side of the project.

My hours spent on the project for February have broken down roughly as follows, not including academic aspects such as blogs or research –

Total hours = 42.5
Admin – 14
Meets – 11
Creative Work – 8.5
Other – 8

There have been issues, but they’ve generally been minor and have been overcome with a combination of good judgement, forward-planning and luck. If we have to have one, our main issue so far has been facilities and equipment. Pressure on these is massive, and failure on set of key pieces of equipment relied upon for location audio work has caused several production problems and extra administrative work. The next hurdle on the horizon in this sense will involve the post work facilities bookings, which are already becoming a bone of contention because of the perception that we are using facilities at our institution inefficiently.

Reflecting, it is noticable that these issues lead practically to a carousel of phone calls, time sensitive emails, time spent replanning the projects and interruption when working creatively, which collectively mean I find myself spending more time problem-solving than doing the creative pre-production work for the films I have involvement in.

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KEY POINTS –

Overview of situation generally for the project and specifically for the film Descent –Professional practice, Process Management.

[GR1] To professionally operate as a small to medium size company (or other recognisable business entity) in the audio production / post-production field might.
[GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.
[IN1] To successfully manage the provision of service by the business for the film Descent with regard the assignment of resources, specialisms and working time, liason with the director, editor and producer on a practical and creative level, and communication of information on their needs and requirements for the piece, in order to appraise the efficacy of the collaborative approach to working on the piece – (Supervisor and Company Officer)

Collaborative creative process – Process Management

[GR2] To organise and fulfil an operating strategy and schedule which deals with multiple productions simultaneously, and which maximises efficiency and minimises issues or risks to delivery.

Researching wider project management literature and concepts – Research

[PER1] To develop a better understanding of the pros and cons of business structures, processes, regulations and agreements which might enable film audio producers to collaborate on multiple projects.

Reflection on outcomes / efficiency – Individual reflection on learning and team role.